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HENRY  HOLT  AND  COMPANY 
PUBLISHERS  NEW  YORK 


ANTON:      "Forgive  them  for  they  know  not  what  they  do." 

Act  2. 


THE  LIGHT  OF  THE 
WORLD 


A  MODERN  DRAMA 


GUY  BOLTON 


% 

\v 


AND 


GEORGE  MIDDLETON 


NEW    YORK 

HENRY  HOLT  AND  COMPANY 

1920 


COPYRIGHT  1919,  1920 

BY 
GUY   BOLTON  AND  GEORGE  MIDDLETON 

Copyright  in  Great  Britain  and  Ireland  and  in  all  countries  sub 
scribing  to  the  Bern  Convention.    All  translation  rights  reserved. 
Published    October.    1920 


SPECIAL  NOTICE 

This  play  in  its  printed  form  is  designed  for  the  reading 
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reserved  in  all  countries  as  stated  above  and  no  public  or 
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THE  LIGHT  OF  THE  WORLD 


551 


As  Produced  at  Lyric  and  Manhattan  Theatres, 
New  York  City. 

PROGRAM 

F.  RAY  COMSTOCK  and  MORRIS  GEST 
Present 

THE  LIGHT  OF  THE  WORLD 

A  Modern  Drama  in  Three  Acts 

By 
GUY  BOLTON  and  GEORGE  MIDDLETON 


CHARACTERS 

( Named  in  the  order  of  their  appearance) 

MARY  RENDEL,  mother  of  Anton, 

Miss  Percy  Haswell 

NATHAN,  a  Jew,  Mr.  Fuller  Mellish 

RUTH  LfiDoux,  Miss  Jane  Cooper 

"THE  THREE  WISE  MEN  ": 

BERT  ADAMS,  an  American  newspaper  man, 

Mr.  Wright  Kramer 
JAN  VAN  VEEN,  of  the  Dutch  Academy, 

Mr.  Fred  Vogeding 
ARTHUR  BROOKE,  an  English  Poet, 

Mr.  Leslie  Palmer 
ANTON  RENDEL,  a  carpenter  and  wood-carver, 

Mr.  Pedro  de  Cordoba 
SIMON  BROCK,  his  friend,  engaged  to  Ruth, 

Mr.  Ralph  Kellard 

JONAS  KURZ,  Mr.  B.  Wallis  Clark 

AGNES,  Miss  Helen  Chandler 

TIMOTHY,  Master  Charles  Crumpton 

PASTOR  SAUNDERS,  Mr.  Arnold  Lucy 

MARTIN  GAST,     ^  Mr.  Ernest  A.  Elton 

JAMES  MAYRE,       j  Mr.  Burke  Clarke 

PAUL  MAYRE,        ^  Villagers          Mr.  Gerald  Rogers 
RAYMOND  HOTT  Mr.  Arthur  Fitzgerald 

MARGOT  HASER,  J  Miss  Phillis  Povah 

MARNA  LYND,  Miss  Clara  Joel 

Other  villagers,  various  characters  in  the  Passion  Play, 
Children,  Elders,  Choir,  etc. 

[Production  staged  by  Robert  Milton.] 


SCENES 

ACT  I.    The  Home  of  ANTON  RENDEL. 

ACT  II.     Open  Air  Stage  of  the  Passion  Play 
Theatre.    Four  Weeks  Later. 

ACT  III.    Same  as  Act  One.    A  few  days  later. 
TIME.    The  Present. 


THE  FIRST  ACT 
AT  THE  HOME  OF  ANTON  RENDEL 


THE  LIGHT  OF  THE  WORLD 


THE  FIRST  ACT 

r  j  fPIE  Living  Room  of  ANTON  RENDEL'S  cot- 
i  tage  is  a  quaint,  sunny,  cheerful  place;  quaint 
by  dint  of  the  low-arched  doorways,  the  huge 
porcelain  stove  and  the  tiny  staircase  that  twists  itself 
into  one  corner  as  if  determined  to  take  up  as  little 
room  as  possible;  sunny  because  of  a  wide  casemented 
window  at  the  side  and  a  doorway  at  the  back,  the 
glazed  upper  half  of  which  is  left  open  to  admit  the 
soft  spring  air;  and  cheerful  because  it  is  obviously  the 
scene  of  much  pleasant  activity:  here  is  ANTON'S  carv 
ing-bench,  his  mother's  ironing-stand,  a  dining  table 
and  a  built-in  dresser  containing  crockery. 

Near  the  dining  table  is  a  door  that  opens  into  the 
kitchen  and  back  and  forth  through  this  round  arched 
opening  bobs  ANTON'S  mother  as  quickly  as  a  shuttle 
and  like  a  shuttle  fashioning  in  her  movements  a 
homely,  simple  fabric  of  every  day  life.  She  is  in  the 
living  room  now  standing  at  her  ironing  board  press 
ing  (with  an  old-fashioned  charcoal  iron)  a  wedding 
veil  of  which  more  anon.  She  is  all  alone  except  for 
a  great  company  of  saints  and  angels  that  bear 
testimony  to  her  son's  talent  and  industry  as  a 

3 


4  THE  LIGHT  OF  THE  WORLD 

wood-carver.  The  little  clock  on  the  mantel  strikes 
four. 

She  pauses  a  moment  in  her  work  and  looks  off 
through  the  window  and  gazes  across  an  intervening 
valley  to  the  tree  sloped  mountains  piled  up  against 
the  blue.  She  smiles  as  if  glad  to  be  alive — and  indeed 
why  shouldn't  she?  She  has  a  pleasant  home,  a  son 
who  warmly  appreciates  and  returns  her  devotion,  and 
plenty  of  kindly  neighbors.  Besides,  it  is  the  year  of 
the  Passion  Play  and  that  certainly  puts  a  thrill  of 
excitement  into  life  and  causes  every  heart  on  the 
mountainside  to  swell  with  pride  at  the  realization  that 
the  eyes  of  the  whole  world  are  turned  toward  their 
sacred  village.  We  can  let  those  who  are  watching  her 
into  the  secret  of  what  she  is  thinking.  She  is  hoping 
(yes  and  praying,  too)  that  her  ANTON  may  be  chosen 
to  enact  the  role  of  the  Beloved  Disciple — a  rare  honor 
indeed  and  one  that  is  to  be  bestowed  to-day  by  the 
committee  of  elders  who  are  met  in  the  village 
hall  to  make  their  choice  of  this  year's  Passion 
Players. 

MARY  RENDEL  sighs  and  returns  to  her  work  and 
at  the  same  time  old  NATHAN,  the  Jew,  enters,  bear 
ing  a  bundle  of  pear-wood  sticks  all  ready  for  carv 
ing. 

NATHAN  is  the  only  Jew  in  the  village  and  perhaps 
because  of  this  he  bears  the  burden  of  Judaism  the 
more  consciously  and  proudly.  His  race  is  well  repre 
sented  in  this  old  man :  loyal,  just,  a  shrewd  bargainer 
and  a  keen  observer  of  men.  His  wit  is  at  times  play 
ful,  at  times  sardonic  as  the  occasion  prompts. 


THE  LIGHT  OF  THE  WORLD  5 

MOTHER 
Is  that  Nathan? 

NATHAN 

Yes.  I  had  trouble  to  get  good  pear- wood.  It 
seems  to  me  every  home  in  the  village  contains  a  wood- 
carver  this  year. 

MOTHER 
Is  there  any  news? 

NATHAN 
What  news  do  you  want? 

MOTHER 

Anton  said  that  the  Elders  of  the  village  were  voting 
to-day  for  those  who  .are  to  have  places  in  the  Passion 
Play. 

NATHAN 

Yes,  so  they  are.  There  are  four  newcomers  to  be 
honored.  All  the  others  are  the  same  as  they  were 
ten  years  ago. 

MOTHER 

Old  Rickert's  daughter  told  me  just  now  that  her 
father  was  getting  better,  so  perhaps  they  won't  have 
to  choose  a  new  Judas  Iscariot. 

NATHAN 
Good.    He  is  the  best  actor  of  them  all. 


6  THE  LIGHT  OF  THE  WORLD 

MOTHER 

Indeed  he  is.  That  American  who  boarded  with  us 
during  the  last  Passion  Play,  said  it  was  a  pity  that 
the  sacred  story  called  for  the  hanging  of  Judas. 
There  were  several  of  the  other  players  deserved  it  so 
much  more.  (NATHAN  laughs.)  But,  tell  me, 
Nathan,  is  there  no  rumor  in  the  village  as  to  who  will 
be  chosen  for  St.  John — or  the  Christ? 

NATHAN 

None  that  has  come  to  my  ears.  But  then  these 
good  Christians  are  not  likely  to  discuss  such  matters 
with  a  Jew. 

MOTHER 

Don't  judge  their  bigotry  too  harshly,  Nathan ;  those 
old  prejudices  die  slowly.  And  it  speaks  well  for  both 
you  and  your  race  that  you  have  been  able  at  least  to 
win  the  respect  of  the  whole  village. 

(Blows  in  iron  trying  to  start  it  burning.) 

NATHAN 
Here,  here,  here,  let  me  give  it  a  blow. 

(Takes  the  iron,  gives  it  a  couple   of  hearty 
blows  till  the  sparks  fly  out.) 
There. 

MOTHER 

(Resuming  her  ironing) 
Thank  you,  Nathan. 

NATHAN 
Time  was  when  you  and  your  son  were  the  only 


THE  LIGHT  OF  THE  WORLD  7 

ones  in  this  village  who  would  speak  with  me.  I  came 
here  a  refugee  seeking  shelter  and  these  folk  all  tried 
to  drive  me  out  with  their  silence  and  their  scornful 
looks. 

MOTHER 

Anton  has  always  been  like  that.  Even  as  a  boy,  he 
would  cry  out  against  all  that  was  mean  or  narrow- 
minded. 

NATHAN 
(Simply) 

He  is  a  good  man  even  before  he  is  a  good  Christian. 

MOTHER 

I  thank  the  Lord  every  day  for  having  given  me  such 
a  son,  (Sighing]  only  I  wish  he  might  have  made  him 
a  little  better  business  man. 

NATHAN 

He  did  the  next  best  thing:  (Reaches  over  and  pats 
her  arm.)  He  sent  him  a  Jew  for  a  helper. 

MOTHER 

(As  they  both  laugh) 
I'm  glad  of  that. 

(RuTH  comes  in  carrying  an  armful  of  wild 
flowers,  which  she  has  picked,  and  her  bridal 
wreath,  which  she  has  just  made. 

RUTH  LE  Doux  is  a  sweet-faced  girl  radi 
antly  happy,  speaking  now  and  then  with 
a  little  catch  in  her  throat  that  hints  of  tears — 


8  THE  LIGHT  OF  THE  WORLD 

for  to-day  is  her  wedding  day;  yet  there  is 
strength  beneath  her  gentle  charm — strength 
little  expected  till  it  is  to  be  tested.) 

RUTH 
Hello,  Nathan! 

NATHAN 
Ruth! 

MOTHER 
And  where  is  your  handsome,  young  bridegroom? 

RUTH 

Oh,  Simon  is  off  mustering  up  his  courage  for  the 
wedding,  I  expect. 

MOTHER 

It's  a  funny  thing,  that  no  matter  how  keen  for  it 
he  may  be,  a  man  always  seems  to  get  nervous  when 
he  hears  the  church  bells. 

NATHAN 
(Playfully) 
Tolling  the  hour  of  his  doom. 

RUTH 
What's  that? 

NATHAN 

And  why  not?    It's  proper  enough  to  laugh  when  a 
man  is  looking  over  the  flock,  but  when  he  puts  down 


THE  LIGHT  OF  THE  WORLD  9 

his  money  and  says  "  this  is  the  sheep  I'll  take  " — that's 
a  serious  thing,  isn't  it? 

RUTH 

And  what  do  you  mean  by  "  looking  over  the  flock  "  ? 
Has  Simon  made  love  to  all  the  girls  here? 

NATHAN 

Oh,  no,  not  all.  I'll  swear  he  never  bothered  with 
the  cross-eyed  ones. 

MOTHER 
Stop  teasing  her,  Nathan. 

(Goes  into  kitchen  with  ironing  board.) 

RUTH 

(Putting  flower  in  his  button  hole) 
That's  all  right,  Aunt  Mary,  I  shan't  pay  any  atten 
tion  to  him. 

NATHAN 

Look  at  the  way  the  sun  is  shining  on  your  marriage- 
day! 

RUTH 

Yes.  When  I  was  out  gathering  flowers  for  my 
bridal  wreath  everywhere  there  was  sunshine  and  birds 
singing  and  the  little  water-fall  below  the  Kofel  made  a 
sound  like  wedding-bells. 

(A  knock  is  heard.    Two  MEN  appear  at  the 
doorway;  they  are  ADAMS  and  VAN  VEEN.) 


io        THE  LIGHT  OF  THE  WORLD 

RUTH 
Come  in. 

(BERT  ADAMS  is  a  cheerful,  happy  go  lucky 
fellow;  a  great  hustler  after  news  which  is 
perhaps  the  reason  he  has  the  commission  to 
cover  this  year's  Passion  Play  for  the  New  York 
papers.  His  companion,  JAN  VAN  VEEN  is,  by 
way  of  contrast,  a  savant  interested  in  the  play 
from  an  historical  standpoint — not  as  a  believer. 
But  being  good  humored  and  tolerant  he  is 
quite  contented  to  keep  his  atheism  in  the  back 
ground.) 

ADAMS 

Excuse  us.    But  is  this  the  home  of  Anton  Rendel, 
the  wood-carver? 

RUTH 
Yes,  it  is.    Won't  you  come  in  ? 

ADAMS 
Thank  you.    Come  in,  Professor. 

VAN  VEEN 
(Entering) 
How  do  you  do? 

RUTH  and  NATHAN 
How  do  you  do? 

ADAMS 

My   friend,    Professor   Van   Veen  here,   bought   a 
carving  of  Rendel's  last  summer. 


THE  LIGHT  OF  THE  WORLD         11 

NATHAN 

Of  course,  I  remember.     Down  at  the  Kroonwald 
Inn.    It  was  7  that  sold  it  to  him. 

VAN  VEEN 

And  I  found  after  I  examined  it  that  there  was  a 
price  scratched  on  the  bottom. 

NATHAN 
Yes. 

VAN  VEEN 

And  that  price  was  just  one-half  what  you  charged 
me  for  it. 

NATHAN 

Oh !    Perhaps  I  am  mistaken.    I  don't  think  I  could 
have  been  the  one  that  sold  it  to  you,  after  all. 

VAN  VEEN 
Hmm! 

BROOKE 
(Appearing  in  the  doorway  carrying  rain  coat  on  his 

arm) 
How  do  you  do? 

RUTH 
Won't  you  come  in? 

BROOKE 
Thanks. 


12         THE  LIGHT  OF  THE  WORLD 

(ARTHUR  BROOKE  is  a  poet  and  the  charm  of 
an  elfin  fancy  runs  through  his  soft-voiced  re 
marks.  To  him  the  Passion  Play  is  very  quaint 
and  beautiful,  but  of  course^  not  so  beautiful  as 
the  legends  of  Greek  mythology  with  which  his 
poet's  nature  is  more  akin.) 

NATHAN 
Rather  early  for  visitors  to  be  coming  to  the  village. 

ADAMS 

Yes;  we're  three  wise  guys.  (BROOKE  and  VAN 
VEEN  exchange  disapproving  looks.)  We  came  up  to 
choose  our  quarters  for  the  Passion  Play  season  before 
the  mob  get  here. 

NATHAN 
Looking  for  rooms? 

ADAMS 
Yes. 

NATHAN 
Well,  perhaps  we  can  accommodate  you. 

BROOKE 

(Who  has  been  looking  about) 
What  a  charming  interior.     It  is  like  one  of  those 
paintings  of  Teniers. 

VAN  VEEN 

Charming — charming.  Will  someone  tell  Rendel 
that  we'd  be  glad  to  look  over  his  carvings? 


THE  LIGHT  OF  THE  WORLD         13 

RUTH 
I'll  go  and  get  him. 

NATHAN 

Wait,  wait.  Don't  bother  Anton.  He's  a  very 
busy  man.  I'll  show  them  to  you. 

(He  selects  several  small  statues  from  the  top 
shelf  as  the  visitors  continue  looking  about  the 
room.) 

ADAMS 

But  I'd  like  to  interview  Rendel  if  you  don't  mind. 
As  long  as  you  all  say  he's  the  best  wood-carver  in 
Switzerland,  he  ought  to  be  worth  a  column  in  my 
weekly  letter  to  the  Herald. 

RUTH 

(Seeing  NATHAN  start  for  the  kitchen) 
Nathan,  where  are  you  going  with  those  carvings? 

NATHAN 

I'm  going  to  mark  the  prices  distinctly.    They  are 
not  very  plain  and  there  must  be  no  mistake  this  time. 
(He  goes  into  the  kitchen.) 

RUTH 

Won't  you  sit  down? 

VAN  VEEN 
Thank  you. 


i4        THE  LIGHT  OF  THE  WORLD 

MOTHER 

(Entering  from  kitchen) 
Greetings,  gentlemen. 

BROOKE 
Greetings  to  you. 

ADAMS 
Good  afternoon. 

RUTH 
They've  come  to  see  Anton. 

MOTHER 

I  am  always  proud  to  have  strangers  admire  my 
son's  work. 

VAN  VEEN 
You  are  Anton  Rendel's  mother? 

MOTHER 
Yes,  sir. 

BROOKE 

(To   his  friends) 
Isn't  she  a  Rembrandt? 

MOTHER 
No,  sir:  I  am  a  Swiss. 

(The  men  smile:  RUTH  whispers  something  in 
her  ear,  correcting  her  mistake  and  she  also 
laughs.) 


THE  LIGHT  OF  THE  WORLD         15 

ADAMS 

(To  VAN  VEEN,  indicating  RUTH) 
While  you're  collecting  paintings,   don't  overlook 
this  one. 

MOTHER 
Would  the  gentlemen  like  a  little  May  wine? 

BROOKE 
Thank  you.    Indeed  we  would. 

ADAMS 

I  supposed  a  burg  that  was  so  darned  strong  for  all 
this  religious  dope  would  be  dry. 

MOTHER 
Excuse  us,  gentlemen.     Come,  Ruth  dear. 

(She  goes  into  the  kitchen  and  after  a  moment's 
hesitation  RUTH  runs  out  after  her.) 

BROOKE 
Now  you've  shocked   that  sweet  little  mountain 

flower. 

ADAMS 
You  mean  what  I  said  about  their  religion? 

VAN  VEEN 

It's  hard  to  remember  there  are  people  who  still 
believe  in  God. 


16         THE  LIGHT  OF  THE  WORLD 

BROOKE 

God  is  as  beautiful  to  these  folk  as  Jupiter  and 
Venus  and  all  the  Greek  mythology  is  to  me. 

ADAMS 

We're  a  fine  trio  to  come  to  the  Passion  Play.    A 
poet-pagan,  an  atheist 

BROOKE 

And  you  an  American  newspaper  man:  a  creature 
with  neither  a  soul  nor  a  conscience. 

VAN  VEEN 
The  Three  Wise  Men  journeying  from  afar. 

BROOKE 

Yes;  three  Twentieth  Century  Wise  Men  come  to 
see  this  Twentieth  Century  Christ. 

ADAMS 
By  the  way,  who  plays  Christ  this  year? 

BROOKE 

The  Christus  is  as  yet  unchosen.     I  believe  they 
are  voting  to-day. 

ADAMS 

I  must  get  an  interview  with  him  as  soon  as  it's 
settled. 

BROOKE 
Don't  be  so  flippant,  Adams. 


THE  LIGHT  OF  THE  WORLD         17 

ADAMS 
What's  the  matter  with  you? 

BROOKE 

I  don't  know.  There's  something  about  all  this 
that  impresses  me.  Christianity  is  a  beautiful  thing, 
even  though  it  be  a  beautiful  dead  thing.  And  after 
all,  beauty  is  the  most  sacred  thing  in  the  world  and 
the  faith  of  these  people  is  beautiful.  I  feel  somehow  as 
if  I  were  standing  on  sacred  ground. 

(ANTON  is  heard  at  the  top  of  the  little  flight 
of  stairs.  As  the  steps  attract  the  attention  of 
the  three  men  they  look  inquiringly  in  their 
direction  and  follow  the  sound  with  their  looks, 
as  he  comes  down  the  stairs.  He  pauses  on 
the  landing  and  greets  them  before  descending. 
He  carries  in  his  hand  a  small  block  of  wood, 
roughed  out  for  carving. 

If  NATHAN  may  stand  for  the  best  in 
Judaism,  ANTON  may  stand  for  the  best  in 
Christianity.  His  identification  with  the  Christ 
spirit  is  not  based  on  mere  physical  resemblance 
to  the  picture  of  the  Saviour,  striking  though 
this  likeness  is;  it  finds  its  origin  in  his  strong 
simple  personality  and  above  all  in  his  mag 
nanimity  and  kindness.) 

ANTON 
Welcome,  friends. 

(There  is  a  momentary  pause.     The  three  men 


i8         THE  LIGHT  OF  THE  WORLD 

are  facing  him  visibly  impressed  by  his  pres 
ence.) 

BROOKE 
Who  are  you? 

ANTON 
I  am  Anton,  the  carpenter. 

BROOKE 
Carpenter  ? 

ANTON 

And  wood-carver;  though  the  first  is  the  trade  I 
was  brought  up  to. 

(Coming  down  the  stairs.) 

ADAMS 

Tell  me.     What  part  do  you  play  in  the  Passion 
Play? 

ANTON 

The  last  time  it  was  given  I  was  one  of  the  disciples 
of  John  the  Baptist. 

ADAMS 

Why,  that's  no  more  than  a  super!    They  ought  to 
give  you  something  better  this  time. 

ANTON 

It  is  honor  enough  to  be  thought  worthy  to  play 
in  the  Passion  Play  at  all;  just  as  it  is  pleasant  to  be 


THE  LIGHT  OF  THE  WORLD         19 

alive  on  a  fine  day — even   if  you  are  only  a  poor 
carpenter. 

(Motions  to  BROOKE  to  be  seated.) 

BROOKE 
Thank  you. 

VAN  VEEN 
You  people  take  this  play  of  yours  very  seriously. 

ANTON 
And  why  not? 

VAN  VEEN 
Well,  after  all,  what  purpose  does  it  serve? 

BROOKE 

Purpose  ?  It's  beautiful.  Isn't  that  purpose  enough, 
you  miserable  materialist? 

ANTON 

Yes,  it  is  beautiful.  (To  VAN  VEEN)  But  more 
than  that  it  holds  up  for  our  example,  the  best-lived 
life  that  any  man  has  ever  spent  on  this  old  earth 
of  ours. 

VAN  VEEN 

For  our  example?  Christ  lived  nearly  two  thousand 
years  ago. 

ADAMS 
The  world  has  progressed  in  two  thousand  years. 


20         THE  LIGHT  OF  THE  WORLD 

ANTON 

It  will  be  many  generations  before  the  world  will  see 
eye  to  eye  with  Christ.  Only  step  by  step  and  slowly 
can  we  reach  the  heights. 

VAN  VEEN 

But  the  conditions  under  which  we  live  are  so 
different.  What  good  is  it  for  me  to  look  at  the  life 
of  Christ? 

ANTON 

Isn't  it  possible  to  live  like  Christ  even  in  the 
Twentieth  Century? 

ADAMS 
You  just  come  over  to  New  York  and  try  it. 

BROOKE 

Yes,  the  spirit  that  crucified  Christ  still  lives,  Anton 
Rendel. 

ANTON 

All  the  more  reason  that  the  spirit  of  Christ  should 
live,  too.  Do  you  think,  my  friends,  the  sacred  drama 
which  we  give  in  this  village  is  an  idle  tale  of  far 
away  times  and  strange  conditions?  Do  you  not  feel 
that  we  may,  each  of  us,  at  any  moment,  face  the  same 
problems  as  that  strong,  noble,  kindly  Man?  Have 
you  never  felt  the  ache  of  His  loneliness?  The  cruel 
injustice  of  misunderstanding?  Has  Judas  never  be 
trayed  you?  Has  your  trusted  friend  Simon  never 
deserted  you,  in  your  hour  of  need?  Have  you  never 


THE  LIGHT  OF  THE  WORLD         21 

had  to  wound  your  mother's  heart  by  sacrificing  her 
hopes  for  your  future,  to  your  sense  of  what  is  right  ? 

BROOKE 
Have  you  met  all  these  things? 

ANTON 

Yes,  in  my  small  way  I  have  met  them — just  as  you 
have.  And  who  shall  say  what  hour  we  may  meet 
them  in  a  larger  way? 

BROOKE 
(Musingly) 

The  little  heartaches  and  disappointments  give  place 
to  the  greater  test  of  tragedy. 

ANTON 

When  that  time  comes  for  any  one  of  us,  the  picture 
of  the  Man  of  Nazareth  moving  amidst  clamoring 
mobs  with  His  head  erect  and  a  light  on  His  face  will 
cheer  our  darkest  hour  and  give  us  courage.  (Going 
up  to  shelves)  But  you  came  to  see  my  carvings,  not 
to  listen  to  me  talk. 

BROOKE 

No,  no;  we  like  to  hear  you  talk,  don't  we,  Pro 
fessor  ? 

VAN  VEEN 

I  hope  you're  going  to  get  through  your  life  with 
out  this  severer  test  of  which  you  speak. 


22         THE  LIGHT  OF  THE  WORLD 

ADAMS 

But  you  live  among  friends;  you're  not  likely  to 
taste  any  persecution  here. 

ANTON 

This  place  has  quite  a  high  altitude  but  it  is  not 
Heaven.  My  old  friend,  Nathan  the  Jew,  who  lives 
here  with  us  would  tell  you  that. 

(He  gives  a  colored  carving  to  BROOKE.) 

BROOKE 
How  exquisite! 

VAN  VEEN 
It  is  a  masterpiece!— How  beautifully  colored! 

ADAMS 

Well,  I  don't  know  much  about  this  sort  of  thing 
myself;  but  I  don't  believe  the  New  York  Academy  of 
Design  would  sniff  at  that. 

VAN  VEEN 
And  what  is  the  subject? 

ANTON 
The  Magdalen  at  the  foot  of  the  Cross. 

BROOKE 

It  is  wonderful !  See  how  this  little  group  of  women 
drawn  to  one  side  seem  to  proclaim  their  aloofness, 
even  in  that  black  hour,  to  the  woman  of  sin.  And 


THE  LIGHT  OF  THE  WORLD         23 

what  eloquence  of  grief  there  is  in  that  crumpled  heap 
at  the  foot  of  the  Cross!  That  Cross  on  which  hangs 
the  Man  who  was  not  afraid  to  sully  His  goodness  by 
raising  up  a  harlot! 

VAN  VEEN 

Look  out,  Brooke.     If  you  stay  here,  you're  going 
to  end  up  a  Christian. 

BROOKE 

If  it  could  inspire  me  to  create  such  beauty  as  this, 
I  wish  I  might. 

(RUTH  enters  from  kitchen,  carrying  a  small 
tray  upon  which  is  a  jug  of  wine,  four  glasses 
and  napkins.) 

ADAMS 

(Trying  to  help  RUTH) 
Let  me. 

RUTH 
Thank  you. 

BROOKE 

Your  little  sister  here  should  make  a  good  model 
for  some  of  those  lovely  Madonnas  of  yours. 

ANTON 

Ruth  is  not  my  sister.    I  wish  she  were.    She  is  be 
trothed  to  my  dearest  friend,  Simon  Brock. 


24         THE  LIGHT  OF  THE  WORLD 

ADAMS 
(To  RUTH) 

Congratulations. 

RUTH 
(Blushing) 
Thank  you. 

BROOKE 
Your  dearest  friend's  name  is  Simon,  too? 

VAN  VEEN 
What  do  you  mean? 

BROOKE 

I  was  thinking  of  Simon  Peter.     (To  RUTH)  And 
your  name  should  be  Martha. 

RUTH 

Why? 

BROOKE 

(Taking  the  glass  from  tray  as  RUTH  offers  it  to  him) 
Thank  you.  I'm  afraid  you  wouldn't  understand. 
(To  others  as  RUTH  passes  the  wine.)  But  some 
how  I  feel  as  though  I  had  been  taken  back  nearly  two 
thousand  years  and  that  I  am  standing  in  a  little  house 
in  Bethany.  That's  what  your  words  and  your  art 
have  done  for  a  poor  crazy  poet,  Anton  Rendel.  Why, 
I  can  almost  fancy  that  in  the  distance  I  hear  a  crowd, 
chanting  their  Hosannas  while  they  hear  that  the 
Messiah  has  come  as  a  man  to  their  humble  village! 


THE  LIGHT  OF  THE  WORLD         25 

(As  BROOKE  is  speaking,  there  comes  from  the 
distance  a  sound  of  singing.  They  all  pause, 
listening.  Something  like  surprise  and  awe  on 
the  faces  of  the  three  men.) 

ANTON 
(Simply) 

It  is  the  choir.  The  Elders  have  just  announced 
that  their  choice  is  made  for  those  who  are  to  play  the 
sacrtd  roles. 

(MOTHER  comes  to  the  door  of  the  kitchen.) 

MOTHER 

Anton!  Anton!  Do  you  hear?  The  choosing  time 
is  over.  We  shall  know  to-night  who  are  the  happy 
ones! 

ANTON 

Yes.  That  is  the  only  sad  thing  about  our  play, 
gentlemen.  There  will  be  many  heartaches  and  dis 
appointments  to-night  among  those  who  have  hoped 
and  prayed  these  ten  years  past  for  some  great  honor 
to  fall  on  them,  or  on  their  dear  ones. 

(MOTHER  presses  her  clasped  hands  against  her 
bosom  and  her  lips  move  as  if  in  prayer.) 

RUTH 

If  Simon  should  be  chosen,  we  would  not  be  able  to 
go  away  to-night. 

ANTON 

Oh,  yes,  you  will.  The  work  on  the  play  will  not 
begin  for  more  than  a  week. 


26         THE  LIGHT  OF  THE  WORLD 

ADAMS 
Will  you  excuse  me,  please. 

ANTON 
Certainly. 

ADAMS 

Thanks.  I  say,  fellows,  I'm  here  on  a  commission 
to  do  the  Passion  Play  for  the  Herald,  so  I've  got  to 
get  up  to  the  town  hall  to  see  what's  happening. 

VAN  VEEN 

All  right,  suppose  we  come  back  to-morrow  and 
talk  prices  with  you,  Anton  Rendel  ? 

MOTHER 
Not  with  Anton — with  his  assistant. 

ADAMS 

Good-bye,  all.     See  you  to-morrow! 
(He  goes  out  quickly.) 

VAN  VEEN 

(Raises  the  remainder  of  his  glass  of  wine) 
Here's  to  the  little  bride. 

MOTHER 

Wait  a  minute;  here's  the  little  bride. 
(MOTHER  goes  to  RUTH  and  brings  her  forward.) 

VAN  VEEN 
A  long  and  happy  married  life. 


THE  LIGHT  OF  THE  WORLD         27 

RUTH 
Thank  you. 

BROOKE 

(Raising  his  glass) 
God's  blessing  on  this  house. 

ANTON,  RUTH,  MOTHER 
Amen — Amen. 

VAN  VEEN 
(As  they  drink) 

Amen.     That's  pretty  good  for  a  pagan  and  an 
atheist. 

BROOKE 
(To  ANTON) 
Thank  you,  for  a  very  wonderful  experience. 

(Takes  hat  and  coat  from  sofa.  VAN  VEEN 
takes  his  hat  from  chair,  goes  to  door.  NATHAN 
comes  back  from  kitchen  carrying  carvings.) 

NATHAN 

Here  are  some  of  your  best  things,  Anton,  that  I 
found  outside. 

ANTON 

Thank  you,  Nathan,  these  gentlemen  may  come  back 
to-morrow. 

BROOKE 

(Turning  to  door) 
Good-bye ! 


28         THE  LIGHT  OF  THE  WORLD 

ANTON 

One  moment,  sir.  (He  takes  up  the  carving  of  the 
Magdalen  at  the  foot  of  the  Cross.)  You  have  seen 
some  beauty  in  this.  I  should  be  very  happy  if  you 
would  take  it  as  a  gift. 

NATHAN 
What! 

BROOKE 
Oh  no;  I  couldn't! 

MOTHER 
Oh! 

ANTON 

I  heard  you  say  that  you  are  a  poet.  I  know  you 
have  eyes  that  see  what  is  hidden  from  many.  Won't 
you  do  a  brother  artist  this  favor? 

BROOKE 
If  you  put  it  like  that 

ANTON 

I  loved  that  piece  of  work  when  I  was  doing  it. 
I  would  like  to  think  of  it  belonging  to  one  who  saw 
its  message. 

(BROOKE  hesitates  but  the  look  on  ANTON'S 
face  makes  him  slowly  take  it.) 

BROOKE 
Thank  you.    It  will  be  my  dearest  possession. 


THE  LIGHT  OF  THE  WORLD         29 

NATHAN 


Oh! 


BROOKE 
(To  MOTHER) 

You  are  quite  right.     When  we  come  to  talking 
business  to-morrow,  it  must  be  with  Nathan. 

NATHAN 
Yes,  I  think  it  must! 

VAN  VEEN 
Good-bye ! 

(He  goes  out.) 

ANTON 
Will  you  wrap  it  up,  Nathan? 

BROOKE 
No,  don't  trouble. 

(He  throws  the  light  coat  around  the  carving, 
turns    to    door,    then    comes    back    again    to 
ANTON.) 
When  I  first  saw  you  I  was  sure 

ANTON 
Sure? 

BROOKE 

Oh,  nothing.     (Hesitating)  Tell  me,  how  does  one 
know  when  the  spirit  of  Christ  speaks  within  one. 


3o         THE  LIGHT  OF  THE  WORLD 

ANTON 
(Gently) 
It  comes  like  flowers  in  the  night. 

(BROOKE  looks  at  him  a  moment  and  under 
stands.  ) 

BROOKE 
Thank  you.     Good-bye. 

(He  goes  out  slowly.) 

MOTHER,  RUTH,  ANTON 
Good-bye ! 

MOTHER 
(Reproachfully) 
And  you  gave  it  away! 

NATHAN 

Never  mind,   never  mind.     They're  coming  back 
to-morrow. 

(He  goes  into  kitchen.) 

MOTHER 

If  it  wasn't  for  Nathan,  I  don't  know  what  would 
become  of  us. 

ANTON 
Don't  scold  me,  Mother. 

MOTHER 
Six  weeks'  work  and  a  gift  to  a  stranger. 


THE  LIGHT  OF  THE  WORLD         31 

ANTON 

But  he  wasn't  a  stranger  when  he  left.  A  love 
of  beauty  is  the  greatest  bond  in  the  world,  little 
Mother. 

MOTHER 
Fine  words. 

RUTH 

Don't  be  cross  with  Anton  on  my  wedding  day, 
Aunt  Mary. 

MOTHER 
But 

ANTON 
Thank  you,  Ruth. 

RUTH 

Besides,  she  is  just  as  bad  as  you  are,  Anton.  Look 
what  she  gave  me. 

(Holds  up  the  veil.) 

ANTON 
What  is  it? 

RUTH 
A  wedding  veil — stupid! 

ANTON 

(Sitting  by  table)' 
Oh,  of  course. 


32         THE  LIGHT  OF  THE  WORLD 

MOTHER 

Anton  is  like  his  father.  He  never  notices  women's 
clothes;  no,  nor  the  girls  that  wear  them. 

ANTON 

That  is  mother's  other  grievance,  Ruth.  She  wants 
a  daughter-in-law. 

MOTHER 

Yes.  I'm  going  to  miss  Ruth  after  she  leaves  to 
day.  Women  like  women's  talk  as  much  as  men  like 
men's  talk.  It  would  be  such  a  wonderful  comfort  to 
have  a  girl  about  the  place,  not  to  speak  of  the  little 
children  that  I'm  longing  to  hold  on  my  knees. 

RUTH 

Haven't  you  ever  found  a  girl  that  you  could  love, 
Anton  ? 

MOTHER 
I  had  great  hopes  once,  but  they  came  to  nothing. 

RUTH 
Was  she  a  girl  of  this  village? 

MOTHER 
Yes;  but  you  wouldn't  know  her. 

ANTON 
(Half  whimsically,   but  with  a  suggestion   that  the 

memory  hurts  him) 
Please,  mother 


THE  LIGHT  OF  THE  WORLD         33 

MOTHER 

She  went  away  before  you  came  here — just  vanished 
in  the  night,  like  a  swallow  at  the  first  touch  of  frost. 

RUTH 

I  wonder  if  that  could  be  the  girl  that  Simon  told  me 
of? 

ANTON 

Simon  told  you  ?  (Leans  forward)  What  did  he  tell 
you? 

RUTH 

We  were  out  walking  together  on  the  upper  moun 
tain  road  and  as  we  passed  a  funny  tumbled-down 
cottage  an  old  woman  came  running  out  and  caught 
hold  of  Simon's  arm  and  said:  "Where  is  she?  Tell 
me  where  she  has  gone  ?  " 

MOTHER 
That's  Marna  Lynd's  aunt,  poor  crazy  old  Anna. 

RUTH 

(To  ANTON) 

Yes,  Simon  said  she  was  crazy  and  that  her  niece 
ran  away  because  she  used  to  beat  her. 

MOTHER 
That's  all  true  enough. 

ANTON 

(Thoughtfully) 

And  so  she  thought  Simon  knew  something  of  her 
going  away? 


34         THE  LIGHT  OF  THE  WORLD 

RUTH 

Yes;  but,  of  course,  he  didn't. 

ANTON 
No-o,  of  course  not. 

RUTH 
You  don't  mean  you  think  he  really  did  know? 

MOTHER 
Not  if  he  told  you  he  knew  nothing  about  it. 

(SiMON  BROCK,  who  now  enters,  is  a  well-built, 
handsome  young  mountaineer.  There  is  nothing 
evil  about  him.  He  has  the  common  human  in 
stincts  but  he  has  not  yet  learned  the  bitter 
lesson  of  how  far  astray  one  wrong  action  may 
lead.  His  eyes  go  immediately  to  RUTH  and 
in  that  glance  is  an  intense  adoration  rare  in 
deed  in  the  wooing  of  these  simple  villagers. 
He  is  dressed  for  the  wedding.) 

SIMON 
Well,  I'm  here! 

RUTH 
Simon ! 

MOTHER 
Go  on,  kiss  him !    Are  you  bashful  ? 

(She  watches  RUTH  run  happily  to  SIMON, 
and  as  they  embrace,  she  smiles.) 


THE  LIGHT  OF  THE  WORLD         35 

RUTH 
Don't  tell  me  it's  time  for  us  to  be  starting? 

SIMON 

Yes,  it  is.  You  know  there's  a  lot  of  writing  to  be 
put  in  that  parish  register. 

RUTH 

Well,  it  won't  take  me  but  a  minute  or  two  to  slip 
on  my  communion  dress.  And,  look,  Simon,  I've  got 
a  veil.  Real  lace,  it  is. 

SIMON 

(Slipping  his  arm  around  her) 
It's  beautiful. 

MOTHER 

'Twas  mine  at  my  own  wedding.  I  kept  it  all  these 
years  (Looking  at  ANTON)  in  the  hopes  that  my 
daughter-to-be  might  wear  it. 

SIMON 
Well  surely  it's  not  too  late? 

ANTON 
Yes,  it  is  Simon;  it  is  too  late. 

(He  turns  abruptly  and  goes  out  of  the  door 
ihat  leads  to  the  kitchen.) 

MOTHER 

I  will  help  you  with  your  dressing,  dearie. 
(She  goes  upstairs  and  then  off.) 


36         THE  LIGHT  OF  THE  WORLD 

RUTH 
Thank  you,  Aunt  Mary.    Where  is  my  wreath  ? 

SIMON 
Don't  spend  too  much  time  on  your  prinking. 

RUTH 

(Taking  wreath) 

And  you  didn't  spend  an  hour,  I  suppose,  soaping 
down  your  hair  till  it  looks  as  shiny  as  a  pair  of  Sun 
day  boots? 

SIMON 
Yes;  but  my  hair  is  wild  and  stubborn. 

RUTH 

And  the  hair  is  like  the  nature,  they  say.  If  so,  I'm 
going  to  have  a  hard  time  training  you. 

SIMON 

Not  you.       I'm  just  like  clay  in  your  pretty  little 
hands.     (Goes  to  her)  I  love  you  so,  one  whole  life 
time  will  never  be  long  enough  to  tell  you  how  much. 
(Holds  her  close  and  kisses  her.) 

RUTH 

(Pressing  away  from  him) 
My,  but  you  mountain  men  are  strong  lovers. 

SIMON 
And  who  wouldn't  love  you? 


THE  LIGHT  OF  THE  WORLD         37 

RUTH 

All  the  same,  I  wish  you  were  a  little  clumsier  about 
it. 

SIMON 
Clumsier?    Why? 

RUTH 

Then  I  wouldn't  be  always  fearing  that  you  must 
have  had  practice. 

(She  runs  up  the  stairs,  throws  him  a  kiss  from 
the  landing.  Then  she  goes  off.  SIMON'S  mood 
abruptly  changes  as  though  something  were 
troubling  him.  He  slowly  goes  to  the  door  and 
looks  off  over  the  valley,  as  ANTON  enters  from 
kitchen,  carrying  a  heavy  piece  of  wood;  it  is 
the  arm  of  the  cross,  dowelled  and  re  patted.) 

ANTON 

So  the  happiest  day  of  your  life  is  come  at  last, 
Simon  ? 

SIMON 

(Without  turning) 
Yes,  yes. 

ANTON 

Old  Nathan,  who  sets  great  store  by  omens,  tells  me 
there  isn't  a  cloud  in  the  sky. 

SIMON 

Yes,  there  is — there  is  one  cloud.    I  can  see  it  from 
here. 


38         THE  LIGHT  OF  THE  WORLD 

ANTON 
But  not  a  large  one  ? 

SIMON 

(Impressively) 

No  larger  than  a  man's  hand.  (Seeing  ANTON  //'// 
the  upright  of  cross,  he  goes  to  him.)  Let  me  help 
you  with  that. 

ANTON 
Thank  you,  Simon. 

(They  place  the  piece  on  the  work  bench.) 

SIMON 
A  cloud  like  that  may  grow,  Anton. 

ANTON 
What  is  it?    What  do  you  fear? 

SIMON 

I  don't  know.  It's  just  a  feeling  of  unrest,  like  the 
unrest  in  the  air  that  warns  cattle  of  a  coming  storm. 

ANTON 
But  no  storm  is  coming  to  you  and  Ruth. 

SIMON 
I  wonder. 

ANTON 

(Puts  his  arm  about  his  shoulder) 
What's   troubling   you,    Simon?      Surely   you    can 
trust  me? 


THE  LIGHT  OF  THE  WORLD         39 

SIMON 

(Smiles,  puts  his  hand  on  ANTON'S) 
Of  course,  I  trust  you,  Anton.     I'd  trust  you  with 
my  life. 

ANTON 

Then  speak  out.  Truth  is  the  sun  that  will  drive 
away  all  these  clouds  of  yours. 

SIMON 

That's  it.  If  I  only  dared  to  tell  Ruth  the  truth — 
but  I  don't.  And  that  thing  which  I  don't  dare  to 
tell  will  lie  down  with  us  at  night  and  rise  up  with 
us  in  the  morning.  It  will  be  a  shadow  always  at  my 
shoulder,  waiting  for  the  hour  when  a  chance  word  shall 
betray  me.  (His  head  drops  a  moment.  Then  he 
looks  up  at  ANTON.)  You  may  thank  God,  Anton, 
you  have  nothing  hidden  in  your  heart  that  you  daren't 
let  out  into  the  light. 

ANTON 
But  surely  little  Ruth  loves  you  so 

SIMON 

She  would  never  understand  how  I  could  have  lied 
to  her — lied  with  my  lips  against  hers.  Anton,  I  am 
not  worthy  of  her! 

ANTON 

Is  any  man  worthy  of  a  girl  who  comes  as  Ruth 
does — out  of  the  dawn? 


40         THE  LIGHT  OF  THE  WORLD 

SIMON 
Yes;  you  would  be. 

ANTON- 
IP    Oh,  no! 

SIMON 
But  you  have  never  sinned  as  I  have  sinned. 

ANTON 

Perhaps  I  have  never  been  tempted  as  you  may  have 
been. 

SIMON 

Yes,   I  was  tempted.      (Turns  away)    And   so   I 
tempted  her.     I  betrayed  her. 

ANTON 
You  loved  this  girl? 

SIMON 
Was  it  love  if  I  could  forget  so  easily? 

ANTON 
Was  it  Marna  Lynd?    Tell  me. 

SIMON 

(Turns   to   him) 
Why,  no.    Marna?    Why  should  you  think  of  her? 

ANTON 

She  went  away  soon  after  you  had  gone  down  to  the 
valley  to  build  that  new  church. 


THE  LIGHT  OF  THE  WORLD         41 

SIMON 

She  went  away  because  that  crazy  woman  was  cruel 
to  her. 

ANTON 

Yes.  (Suspecting)  Yes,  of  course.  (After  a  second's 
pause,  moves  toward  him.)  Simon,  you  shouldn't  let 
this  thing,  whatever  it  is,  stand  between  you  and  Ruth. 


SIMON 
You  mean  that  I  should  tell  her? 


ANTON 
If  you  don't  it  will  grow  unseen  by  you  both. 

SIMON 
I  daren't  tell  her! 

ANTON 

And  yet  when  you  climbed  the  new  church  steeple 
to  set^a  cross  on  the  top,  they  said  you  were  the  bravest 
man  in  this  village. 

SIMON 

Yes.  But  I'm  not  brave  enough  to  risk  losing  her 
love  and  respect;  and  that  love  and  respect  mean  more 
to  me  than  life  itself. 

ANTON 

You  will  win  her  respect  all  the  more  because  you 
dared  to  make  this  confession  to  her. 


42         THE  LIGHT  OF  THE  WORLD 

SIMON 
You  wouldn't  have  me  tell  her  now? 

ANTON 
In  all  honor  you  should  tell  her  before  your  marriage. 

SIMON 

(Apprehensively) 

Then  you  do  think  she  may  refuse  to  go  on  with  the 
wedding? 

ANTON 
No,  I  don't.    I  don't  think  so. 

SIMON 

But  you're  not  sure?  And  I'm  not  sure.  Ruth 
might  tell  me  to  go  back  to  the  girl  I  wronged.  She 
may  feel  that  that  is  right. 

ANTON 
You  should  give  her  the  chance  to  decide  that. 

SIMON 
But  that  isn't  possible.    The  other  girl  is  not  here. 

ANTON 

Is  not  here?    You  told  me  the  truth  just  now  when 
I  spoke  of  Marna? 

SIMON 
Why,  certainly. 


THE  LIGHT  OF  THE  WORLD         43 

ANTON 

And  there  is  no  way  for  you  to  make  amends  to  the 
other  woman? 

SIMON 

No.     I  don't  know  where  she  is.     I  doubt  if  she  is 
even  living. 

(NATHAN  comes  in  from  the  kitchen,  carrying 
RUTH'S  chest.) 

NATHAN 
Here's  the  little  bride's  treasure  chest. 

ANTON 
Let  me  give  you  a  hand  with  that,  Nathan? 

NATHAN 
No,  no.    I  can  manage  it.     I'll  lash  it  in  the  back 

of  your  cart,  Simon. 

(As  NATHAN  goes  to  the  door  ANTON  places 
the  arm  of  cross  in  position  on  upright  piece 
so  that  the  cross  is  made.  SIMON  stands  silently 
leaning  against  post.) 

Ah!     Here  comes  Jonas  Kurz.     Be  careful  that  you 

say  nothing  that  he  can  distort  with  that  evil  tongue 

of  his. 

ANTON 

(Placing  the  wooden  pins  in  cross) 
His  hatred  of  your  race  makes  you  bitter,  Nathan. 

NATHAN 
The  hatred  of  such  people  is  only  an  honor.    But  I 


44         THE  LIGHT  OF  THE  WORLD 

can't  stand  having  to  listen  to  his  unending  boastings 
of  what  a  great  actor  he  is. 

JONAS 
(Outside) 
Anton !    Anton ! 

(JONAS  enters  excitedly.) 

(NATHAN  will  presently  liken  JONAS  KURZ 
to  Judas  Iscariot,  and  there  is  indeed  a  strong 
resemblance,  for  envy  of  the  beloved  disciple 
John  moved  Judas  to  his  Masters  betrayal  far 
more  than  the  thirty  pieces  of  silver;  and  JONAS 
is  envy  personified.  For  the  rest,  he  is  a  fine 
looking  man  with  hair  and  beard  trimmed  to 
make  him  eligible  for  the  role  of  the  Christus. 
He  struts  a  trifle  and  obviously  has  a  good 
opinion  of  himself.) 

ANTON 
Come  in,  come  in,  Jonas. 

NATHAN 
Ah! 

JONAS 

Ah!  (Passing  NATHAN  contemptuously)  I  stopped 
a  moment  on  my  way  back  to  my  house  to  tell  you 
the  news.  The  committee  have  finished  their  choosing 
and  have  come  out  of  the  Town  Hall. 


THE  LIGHT  OF  THE  WORLD         45 

ANTON 
Yes ;  I  heard  the  choir. 

JONAS 

They're  in  the  church  receiving  the  blessing  on  their 
work  before  starting  round  to  make  announcement  to 
the  lucky  ones. 

ANTON 
Let  us  hope  they  have  chosen  those  most  worthy. 

JONAS 

From  what  folk  are  saying,  I  think  the  committee  is 
waking  up,  and  caring  a  bit  less  about  getting  good 
men  and  more  about  getting  good  actors. 

NATHAN 
Meaning  Jonas? 

JONAS 

That's  what  the  strangers  coming  here  from  all  over 
the  world  want  to  see — good  actors. 

ANTON 

That  should  be  thought  of,  too.  Yet  we  don't  give 
the  play  to  catch  the  money  of  curious  travellers,  but 
for  the  Glory  of  God. 

JONAS 

I  was  speaking  just  now  with  an  American  who  has 
come  here  to  write  about  the  play,  and  he  tells  me 


46         THE  LIGHT  OF  THE  WORLD 

that  Americans  didn't  choose  their  actors  just  be 
cause  they've  lived  good,  pure  lives;  they  think  about 
art. 

NATHAN 
(Sarcastically) 

All  of  which  is  to  say  that  Jonas  expects  one  of 
the  best  parts  to  come  to  him. 

JONAS 

And  why  not?  And  why  not?  Wasn't  my  Barabbas 
the  talk  of  the  last  Passion  Play  ? 

NATHAN 

Yes,  you  played  a  thief  quite  well.  Perhaps  this 
time  they'll  try  you  with  Judas. 

JONAS 

Judas!  Me!  No,  friends.  (As  the  church  chimes 
strike  in  the  distance.)  Rumor  says  they've  chosen  me 
for  the  highest  honor  of  all. 

NATHAN 

(Laughing  derisively)   . 

What!  You  to  play  the  Christus?  Why,  they 
might  almost  as  well  choose  me. 

JONAS 

Don't  forget  I  was  asked  to  come  and  play  in  a  real 
theatre  in  Berne  after  they  saw  my  Barabbas. 


THE  LIGHT  OF  THE  WORLD         47 

ANTON 

Yes,  you  play  well,  very  well,  Jonas.  And  your 
fine  work  will  be  an  honor  to  the  village,  whether  you 
play  a  great  role  or  a  small  one. 

JONAS 

Acting  isn't  work  to  me.     I  have  the  gift  for  it. 
(NATHAN  laughs  as  JONAS  glares  at  him.)     I  think 
I  hear  the  church  bells.     If  I  don't  hurry  they'll  be 
getting  to  my  house  before  I  do. 
(He  goes  out.) 

NATHAN 

(Laughing  as  he  picks  up  RUTH'S  chest  and  starts  out) 
He  has  the  gift !    Jonas  playing  the  Christus !    Well, 
as  a  good  Jew,  I'm  glad  they're  not  getting  him  to 
play  Moses. 

(He  goes  out  laughing.) 

RUTH 

(From  upstairs) 
Come  on,  Aunt  Mary! 

(ANTON  detains  SIMON,  who  has  started  after 
NATHAN,  on  hearing  RUTH'S  voice.) 

ANTON 

^  No,  I'll  help  Nathan  lash  the  chest  in  your  cart, 
Simon.     You  stay  here  and  tell  Ruth. 

SIMON 

(Meeting  his  gaze) 
Tell  her ? 


48         THE  LIGHT  OF  THE  WORLD 

ANTON 

(Firmly) 
Yes. 

SIMON 
Very  well,  I  will. 

ANTON 
God  be  with  you. 

(ANTON  goes  out  after  NATHAN  as  RUTH 
enters  wearing  a  simple  white  dress  with  her 
bridal  wreath  and  veil.) 

RUTH 
Well,  how  do  I  look? 

SIMON 

(Gazing  at  her,  fascinated) 

Like  the  Snow-Princess  we  used  to  read  about  in 
the  fairy  books  when  we  were  children. 

RUTH 
(Smiling) 

A  snow  princess?     Oh,  I'll  try  not  to  be  quite  as 
cold  as  that  to  my  Fairy  Prince. 

SIMON 

(Taking  hold  of  her  arms  and  drawing  her  to  him) 
Oh,  .but  you're  the  sweetest  thing  God's  sun  ever 
shone  on! 

RUTH 

Oh!     Be  careful  or  you'll  be  spoiling  all  the  work 
we've  done  ironing  this  dress. 


THE  LIGHT  OF  THE  WORLD         49 

SIMON 

(Catches  her  hand) 
Oh,  never  mind  that! 

RUTH 

But  I  do  mind.  And  all  the  girls  that  would  like  to 
have  married  you,  standing  in  their  doorways  to  see 
us  go  by.  I'm  thinking  you'll  have  time  enough  for 
hugging  me  later  on. 

SIMON 

(More  soberly) 

Will  I  ?  I  wonder  ? — Ruth,  I  want  to  tell  you  some 
thing. 

RUTH 
What  is  it,  dear? 

SIMON* 
Ruth,  I'm  not  worthy  of  you. 

RUTH 

Of  course,  you're  not.  I'm  such  a  wonderful  girl. 
I  deserve  a  real  prince  not  a  fairy  one;  and  a  golden 
palace  to  live  in  and  two  little  black  pages  to  carry  my 
train.  (She  playfully  curtseys.)  Oh,  how  do  you  do? 
I'm  so  glad  you've  had  the  pleasure  of  meeting  me. 

SIMON 

(Embracing  herf  impulsively) 
Oh,  you're  adorable!     And  you're  mine!     Mine! 


50         THE  LIGHT  OF  THE  WORLD 

I  love  you  and  you  love  me  and  mistakes  and  sins  can't 
alter  that! 

RUTH 

(Startled  by  his  vehemence) 
Why,  Simon,  what  are  you  talking  about? 

SIMON 

You  are  more  to  me  than  air  or  food  or  sunshine.  I 
don't  care  to  wake  to  a  new  day  unless  I  wake  to 
find  you  in  my  arms. 

RUTH 
Simon,  you're  so  strange;  you're  frightening  me. 

SIMON 

(Still  holding  her  in  his  arms) 
Listen,  dear;  long  ago  I  did  something  wrong; 
something  I've  repented  bitterly;  that  I'd  give  all  I 
have  to  undo.  I  want  to  tell  you  now  and  ask  your 
forgiveness.  (She  presses  away  from  him.)  But  I 
want  you — I  want  you  to  say  you  forgive  me  without 
my  telling  you. 

RUTH 
You  mean  you  did  a  wrong  to  me? 

SIMON 
Oh,  no,  dear,  no. 

RUTH 
Then  why  should  I  forgive  you?    Unless ? 


THE  LIGHT  OF  THE  WORLD         51 

(Steps  away  as  he  holds  her  hand  In  both  of  his.) 
Simon,  you  don't  mean  that  it's  something  that  might 
stand  in  the  way  of  our  marrying? 

SIMON 
No,  no,  dear. 

RUTH 

No  other  woman  has  any  greater  claim  on  you  than 
7  have? 

SIMON 
No,  dear! 

RUTH 

Because  if  she  has,  Simon,  I  want  you  to  tell  me  now, 
before  it's  too  late. 

SIMON 
(Fearfully) 

Too  late!  (Trying  to  read  her  mind.)  You  mean 
chat  if  it  were  something  like  that  you  wouldn't  marry 
me? 

RUTH 
Not  if  I  thought  you  belonged  to  someone  else,  no. 

SIMON 

(Embracing  her,  with  an  effort,  turning  his  head  away) 
Well,  it  isn't,  it  isn't  anything  of  that  sort,  Ruth. 

RUTH 

(Smiling) 
Then  I'm  quite  willing  to  take  this  dreadful  thing 


52         THE  LIGHT  OF  THE  WORLD 

on  trust,  and  forgive  you  without  asking  any  ques 
tions. 

SIMON 

(Kissing  her  hand) 
Thank  you,  dear. 

RUTH 

(Impressively) 
Simon,  you  know  all  I'm  giving  you? 

SIMON 
Yes. 

RUTH 
It's  for  always. 

SIMON 
For  always. 

RUTH 

Keep  me  happy,  dear  one.  (They  kiss  reverently.) 
Now,  come.  We're  late,  you  know.  (Calling)  Good 
bye,  Aunt  Mary! 

MOTHER 
(  Upstairs) 
Wait  a  minute,  dear. 

(ANTON  enters.  He  looks  at  SIMON  to  see  if 
he  has  told  RUTH  and  from  SIMON'S  assumed 
manner,  is  sure  that  RUTH  has  forgi  >en 
him.) 


THE  LIGHT  OF  THE  WORLD         53 

ANTON 
(Happily) 
There :  the  chest  is  made  fast  ready  for  the  journey. 

RUTH 
But  you  and  Aunt  Mary  are  coming  to  the  church  ? 

ANTON 

Oh,  yes.     We'll  start  as  soon  as  we  hear  the  first 
bell  peal.     May  I  kiss  her,  Simon? 

RUTH 
Of  course,  you  may. 

ANTON 
(Puts  his  hands  on  RUTH'S  shoulders  and  kisses  her  on 

the  brow) 

God  keep  you  both!    You  will  never  regret,  dear, 
what  you  did  just  now. 

RUTH 
(Puzzled) 
What  I  did  just  now? 

SIMON 

(Quickly) 

I  told  Anton  I  was  going  to  ask  your  forgiveness. 

ANTON 
I'm  glad. 


54         THE  LIGHT  OF  THE  WORLD 

RUTH 

(Just  a  bit  puzzled} 
Oh,  yes. 

(MOTHER  has  entered,  coming  to  RUTH,  and 
embracirg  her.) 

MOTHER 

Ruth,  dear!  Excuse  a  silly  old  woman's  tears, 
darling.  It  seems  people  must  be  sad  a  little  when 
they  are  happy.  Women  will  cry  at  weddings,  I  don't 
know  why. 

RUTH 
Yes,  I  feel  li^e  crying,  too. 

(Her  head  drops  on  MOTHER'S  shoulder — both 
crying.) 

ANTON 

Oh,  but  you  mustn't;  that  would  never  do.  A 
weeping  bride  going  up  the  street,  eh,  Simon  ? 

SIMON 
No,  that's  true. 

MOTHER 

You  must  stop  here  on  your  way  down  for  some 
cakes  I  baked. 

RUTH 
Of  course,  we  will. 

MOTHER 
May  God  send  you  every  blessing. 


THE  LIGHT  OF  THE  WORLD         55 

SIMON 
Thank  you. 

(Amid  general  good-byes  RUTH  and  SIMON 
go  out  as  ANTON  and  his  mother  stand  look 
ing  after  them.  People  outside  are  heard  shout 
ing  after  the  couple — and  a  number  of  children 
are  laughing  happily.) 

ANTON 
The  cloud  has  grown  bigger. 

MOTHER 
Yes,  I'm  afraid  there's  a  storm  coming. 

ANTON 
Look.    The  children  are  pelting  them  with  flowers. 

MOTHER 
It's  a  pretty  sight:  a  wedding. 

ANTON 

One  boy  is  running  behind  trying  to  tie  an  old  boot 
to  the  chest. 

MOTHER 
I  must  be  getting  on  my  bonnet,  I  suppose. 

ANTON 
(Calling  off) 

Tim!     Timmy!     Agnes!     (The  children  cry  back 
" yes,  yes")     Come  here,  I've  got  something  for  you. 


56         THE  LIGHT  OF  THE  WORLD 

(There  is  the  sound  of  an  answering  childish 
shout.  MOTHER  goes  slowly  up  the  stair;  she 
pauses  again  on  the  landing  just  long  enough  to 
see  him  stoop  and  gather  two  running  young 
sters  into  his  arms*  Then  she  goes  up  sadly 
into  her  room. 

AGNES  and  TIMOTHY  are  just  a  little  girl 
and  boy  of  eight  and  ten  respectively.  They  are 
much  like  any  little  girl  and  boy  that  one  may 
happen  to  know  and  be  very  fond  of.  AGNES 
carries  an  old  boot,  tied  to  a  piece  of  red  ribbon 
and  swings  it  about.) 

TIMOTHY 
What  is  it?    A  whale? 

AGNES 
With  Jonah  inside  him? 

ANTON 

(Taking  the  boot  from  her) 
It's  a  dragon  this  time.    You  go  over  there  and  sit 
down,  children. 

(AGNES  runs  for  the  armchair  but  TIMOTHY 
beats  her  to  it.) 

I  found  him  out  in  the  woods.     I  only  had  to  carve 
him  a  little  and  put  on  two  buttons  for  eyes. 

(Taking  the  dragon  from  the  seat  at  fireplace.) 

AGNES 
Two  buttons  for  eyes! 


THE  LIGHT  OF  THE  WORLD         57 

TIMOTHY 
Is  it  mine? 

ANTON 
Yes. 

TIMOTHY 
It's  mine. 

ANTON 

Oh!     I'm  making  a  wooden  doll  for  Agnes,  but  it 
isn't  quite  finished  yet. 

AGNES 
How  big  is  it? 

ANTON 
(Measuring  the  doll  by   extending  his  hands  wide 

apart) 
Oh!     It's  about 

AGNES 

(Her  eyes  popping  out) 
Oh! 

ANTON 

(Bringing  his  hands  dose  together) 
So  big.      (AGNES   laughs)    There's  your   dragon, 
Timmy. 

TIMOTHY 
Oh,  it's  got  teeth! 


58         THE  LIGHT  OF  THE  WORLD 

AGNES 
Say  thank  you,  Timmy. 


TIMOTHY 
Thank  you,  Anton. 

AGNES 

(Sitting  on  the  arm  of  ANTON'S  chair) 
Has  Ruth  gone  away  to  get  married,  Anton? 

ANTON 
Yes. 

AGNES 
And  now  she'll  have  little  girls  and  boys  like  us. 

ANTON 
We  hope  so. 

AGNES 
Has  she  decided  which  she'll  have  first? 

TIMOTHY 

I'm  going  to  have  mine  all  at  once  so  they  can  play 
together  better. 

ANTON 
A  very  good  idea. 

TIMOTHY 
I  thought  so. 


THE  LIGHT  OF  THE  WORLD         59 

AGNES 

Why  don't  you  have  little  boys  and  girls,  Anton? 
Don't  you  like  them? 

ANTON 

(Drawing  her  to  him) 
You  know  I  like  them! 


TIMOTHY 

I  s'pose  they  make  too  much  noise  while  he's  work 
ing. 

ANTON 
Oh,  no,  I  shouldn't  mind  that. 

AGNES 
Can't  you  find  a  woman  that'll  marry  you? 

ANTON 
(Laughing) 
You've  guessed  it  at  last. 

AGNES 

(Putting  her  arm  around  his  neck) 
Never  mind.     I'll  marry  you  when  I'm  grown  up. 
And  then  you  can  order  just  as  many  children  as  you 
like. 

TIMOTHY 

That's  silly.    You  know  all  the  women  in  the  village 
would  like  to  marry  Anton.     Why,  there  isn't  any 


60         THE  LIGHT  OF  THE  WORLD 

other  man  can  carve  animals  out  of  sticks!     (Going 
over  to  him)  Tell  us  a  story,  Anton. 

AGNES 
Yes! 

ANTON 
What  kind  of  a  story? 

TIMOTHY 
(Sitting  beside  him) 
About  the  dragon. 

AGNES 
No;  about  the  lost  sheep. 

TIMOTHY 
I  like  dragons  better  than  lost  sheep. 

ANTON 

And  I  gave  you  a  dragon,  so  now  I'll  give  Agnes  her 
story,  eh,  Timmy? 

TIMOTHY 
Oh,  all  right. 

ANTON 
(In  the  distance  the  chanting  of  the  choir  is  heard 

coming  nearer) 

Once  upon  a  time  there  was  a  shepherd  who  had  a 
flock  of  good  sheep 

TIMOTHY 
One  of  'em  wasn't  good. 


THE  LIGHT  OF  THE  WORLD         61 

ANTON 

Yes,  that's  true.  There  were  ninety  and  nine  good 
ones  that  did  just  what  the  shepherd  said,  and  there 
was  one  little  sheep  that  thought  he  knew  better  than 
the  shepherd  and  ran  away  by  himself. 

TIMOTHY 
I  wish  I  was  a  sheep  sometimes. 

AGNES 
What  is  that  singing? 

ANTON 

It's  the  people  who  are  going  to  announce  to  the 
man  they  have  chosen  to  play  the  Christus. 

AGNES 
Why  don't  they  choose  you? 

ANTON 
I'm  not  good  enough. 

AGNES 

Your  mother  says  there's  no  one  as  good  as  you  are 
in  all  of  the  village. 

ANTON 
Oh,  that's  what  mothers  always  say  of  their  sons. 

TIMOTHY 
My  mother  doesn't  say  that  about  me. 


62        THE  LIGHT  OF  THE  WORLD 

AGNES 
Keep  quiet,  Timmy;  Anton  is  telling  us  a  story. 

ANTON 

Well,  this  one  little  sheep  ran  away  and  was  lost 
and  the  shepherd  felt  very  sad  for  he  kept  wondering 
what  had  happened  to  the  poor  lost  sheep  and  he  knew 
she  was  very  unhappy  and  lonely  and  tired 

TIMOTHY 
She?    It  wasn't  a  she ;  it  was  a  he. 

ANTON 
Of  course,  excuse  me. 

AGNES 

(In  an  excited  whisper) 
Anton !    Anton ! 

TIMOTHY 
What  is  it? 

(AGNES  runs  to  the  door,  opens  the  top  half 
and  looks  out.  TIMOTHY  runs  to  sofa,  jumps 
on  it,  kneeling.  ANTON  rises.  AGNES  runs 
back  to  ANTON.) 

AGNES 
The  Pastor!    The  Pastor! 

TIMOTHY 
(Runs  to  ANTON) 
The  Pastor!    The  Pastor! 


THE  LIGHT  OF  THE  WORLD         63 

(ANTON  stands  with  his  arms  around  the  shoul 
ders  of  the  children.  MOTHER  on  hearing  the 
singing  has  come  to  the  landing  on  the  stairs 
and  looks  out  through  window.  After  a  pause 
PASTOR  SAUNDERS,  a  good,  simple  shepherd  of 
this  mountain  flock,  appears  at  the  doorway, 
wearing  his  black  cassock  with  the  divided  tie  of 
white  lawn.  The  singing  stops.) 

PASTOR 
Anton  Rendel! 

ANTON 
Ah,  Pastor 

PASTOR 
(Coming  in) 

We  find  you  pleasantly  occupied,  Friend  Anton. 
(MARTIN,  JAMES  and  RAYMOND,  MARGOT  and 
VICTORIA    together   with    the   villagers   crowd 
around  the  doorway  and  into  the  room.     The 
choir  and  others  are  outside  under  the  trees.) 

ANTON 
Go,  greet  the  Pastor,  dears. 

TIMOTHY 
Good  evening,  sir. 

AGNES 
Good  evening,  sir. 


64         THE  LIGHT  OF  THE  WORLD 

PASTOR 
How  are  you,  my  dears? 

AGNES 

Very  well,  thank  you,  Pastor.  Anton  was  just  tell 
ing  us  the  story  of  the  lost  sheep.  Wouldn't  you  like 
to  hear  it,  too? 

PASTOR 
I?    When  I  know  it? 

AGNES 
But  he  tells  it  so  well,  Pastor. 

PASTOR 
Hush,  my  dears 

(Places  one  hand  under  AGNES'  chin,  the  other 

on  TIMOTHY'S  head.) 

In  years  to  come  you  children  will  be  able  to  tell  that 
you  witnessed  one  of  the  greatest  events  in  the  life 
of  our  village. 

(Impressively  to  ANTON  amid  the  silence.) 
Anton  Rendel,  after  due  deliberation,  and  a  prayerful 
seeking  of  the  blessing  of  our  Heavenly  Father,  you 
have  been  chosen  for  the  highest  honor  it  lies  within 
our  power  to  bestow. 

ANTON 
Why— Pastor— I 

PASTOR 
You  are  to  play  the  sacred  role  of  the  Saviour  of 


THE  LIGHT  OF  THE  WORLD         65 

Mankind,  now  and  for  so  long  as  your  life  is  such  that 
you  are  adjudged  worthy  of  this  great  trust. 

ANTON 
I — I  have  been  chosen? 

PASTOR 

(Goes  to  him,  hand  on  his  shoulder) 
Yes,  my  son.     Your  astonishment  does  credit  to 
your  modesty  and  humbleness  of  spirit. 

(He  makes  a  signal  and  PAUL  comes  through 
the  crowd  and  lays  on  the  PASTOR'S  arm  a 
folded  robe — "  the  vestments  of  Christ " — and 
hands  him  the  shepherd  staff.  AGNES  runs  to  the 
mother;  ANTON  turns  to  her  holding  out  his 
hand.) 

ANTON 
Mother ! 

MOTHER 
My  son! 

(She  comes  to  him.  He  takes  her  in  his  arms. 
Then  the  PASTOR  goes  to  ANTON  and  lays  the 
robe  on  his  arm  and  hands  him  the  staff.) 

PASTOR 

(With  solemnity) 

In  conferring  this  great  responsibility  upon  you,  we 
pray  that  your  thoughts  may  be  kept  holy  and  your  life 
pure.  We  charge  you  to  see  that  this  house  shall  be 


66         THE  LIGHT  OF  THE  WORLD 

as  consecrated  ground,  where  no  one  who  is  given  over 
to  carnal  or  worldly  living  shall  enter  to  defile  you 
with  their  association. 

ANTON 

(As  he  offers  the  prayer  all  bow  their  heads) 
Oh,  God,  give  me  Thy  help  to  follow  as  far  as 
mortal  man  is  able  in  the  steps  of  Thy  Beloved  Son, 
Jesus  Christ. 

OMNES 
(Murmurs) 
Amen. 

AGNES 
Amen! 

PASTOR 

Come  now,  we  will  leave  him.  He  should  be  alone. 
(The  Villagers  go  out,  except  JAMES,  MARGOT, 
VICTORIA,  PAUL,  RAYMOND  and  MARTIN,  who 
wait  at  the  door  for  the  PASTOR.) 

PASTOR 

I  shall  be  at  home  to-night,  my  son,  if  you  wish  to 
visit  me. 

ANTON 
Thank  you. 

PASTOR 

You  must  be  a  happy  mother,  Mrs.  Rendel,  to  have 
borne  a  son  to  this  great  service. 


THE  LIGHT  OF  THE  WORLD         67 

MOTHER 

Every  mother  in  the  village  dreams  of  this  moment 
from  the  first  hour  that  her  son  sleeps  on  the  breast. 

PASTOR 
(Shakes  hands) 
And  it  has  come  to  you.     I  am  glad. 

(He  motions  to  the  others  to  leave  and  then 
he  goes  out  after  making  the  sign  of  the  Cross. 
The  choir  is  heard  singing  as  all  go  away. 

TIMOTHY  and  AGNES  who  have  been  kneel 
ing  on  the  sofa,  watching  them  go,  now  jump 
down.) 

TIMOTHY 

It's  all  right,  now  they've  gone.     One,  two,  three. 
(Both  children  together.)     Hurray! 

MOTHER 
Children!    Children! 

TIMOTHY 

That's  all  right.     Come  on,  Agnes,  the  Pastor  said 
he  was  to  be  alone. 

AGNES 
(Runs  to  door  but  there  is  something  she  has  forgotten 

to  say  and  she  turns  back  to  ANTON) 
Good-bye,  Anton.     I  know  now  why  you  haven't 
got  married.    God  wanted  you  for  this. 

(ANTON,  his  hand  resting  on  her  head,  kisses 
if  her  on  the  brow.) 


68         THE  LIGHT  OF  THE  WORLD 

Wait  for  me,  Tfmmy. 

(Runs  out  after  him.) 


MOTHER 
My  boy — my  little  boy! 

ANTON 
Not  a  very  little  boy  now,  mother  dear. 

MOTHER 

Yes,  you  are  my  baby.  And  since  it  seems  you're 
all  the  baby  I'm  to  have  in  my  old  arms,  you  mustn't 
mind  it. 

ANTON 
Why,  youVe  got  your  bonnet  on,  already. 

MOTHER 

My  bonnet  on?  Have  I?  So  I  have.  I  wonder 
how  I  came  to  do  that? 

ANTON 

(Laughing  gently) 

Don't  you  remember?  The  wedding.  Ruth  and 
Simon. 

MOTHER 
Goodness.    And  I'd  forgotten  all  about  it. 

ANTON 
It  must  be  time  to  go.    I  wonder,  dear,  would  you 


THE  LIGHT  OF  THE  WORLD         69 

go  on  ahead  ?    They'll  be  so  disappointed  if  you  aren't 
there,  mother. 

MOTHER 
You  want  to  be  alone.     I  understand. 

ANTON 
Just  for  a  few  moments.    It  was  so  unexpected. 

MOTHER 
Not  to  me  it  wasn't. 

ANTON 

Pray  for  me,  mother.    Pray  that  I  may  be  helped  to 
do  as  well  as  I  can,  what  Christ  would  have  done. 

MOTHER 
Very  well,  my  dear. 

(She  kisses  his  forehead,  looks  at  him  fondly 
and  then  goes  out. 

ANTON  smiles  after  her.  'Goes  to  the  door; 
stands  a  moment  looking  out;  closes  the  bot 
tom  half  of  door,  looks  at  robe,  then  at  the  staff, 
offers  prayer,  and  slowly  walks  to  the  chair 
below  the  fireplace.  He  rests  the  staff  in  the 
corner  below  the  mantel  and  reverently  drapes 
the  robe  on  the  chair.  Then  he  stands  with 
clasped  hands  gazing  at  it,  again  offering  a 
silent  prayer.  He  goes  over  to  the  cross  and 
looks  at  it  for  a  moment,  kneels  slowly  beside  it 
in  prayer,  as  it  grows  dark  outside. 


70         THE  LIGHT  OF  THE  WORLD 

After  a  moment's  pause  MARNA  comes  to  the 
door,  opens  the  top  half  and  hesitates,  looking  in. 

Not  long  ago  one  would  have  called  MARNA 
LYND  a  pretty  girl.  Now  suffering,  anxiety 
and  the  exaltation  and  anguish  of  woman  s 
supreme  experience  has  brushed  away  the  bloom 
and  left  instead  the  stamp  of  individuality  and 
character — which  is  beauty.  She  is  very  poorly 
dressed  and  in  her  bearing  there  is  the  suggestion 
of  hopeless  fatigue.  She  comes  in,  sees  ANTON 
and  hesitates.) 

MARNA 

(In  a  low  voice) 
Anton.    Anton. 

ANTON 

(Raises  his  head) 
Marna ! 

MARNA 
You  haven't  forgotten  me? 

ANTON 
(Rises) 

Forgotten  you?     Of  course  not. 

MARNA 
(Dully) 

No,  of  course  not.     It  seems  such  a  long,  long  time 
ago  that  I  left,  but  it  isn't  so  long  really. 


THE  LIGHT  OF  THE  WORLD         71 

ANTON 

Why  did  you  leave?  Why  did  you  run  away  from 
all  your  friends  ?  We've  been  very  anxious  about  you, 
Marna. 

MARNA 
(Scornfully) 

Who  has?  That  crazy  woman  or  all  the  good 
people  who  told  me  it  was  mv  duty  to  obey  her  even 
though  she  be  a  bit  mad? 


ANTON 

(Going  to  her) 
You  look  tired,  Marna. 

MARNA 

Yes,  I've  been  walking  two  days  and  a  half.    I  slept 
in  the  open  last  night — out  under  the  pine  trees. 

ANTON 
Poor  child ! 

(Helping  her  to  stool  where  she  sits.) 

MARNA 

Tell  me,  Anton,  has  Simon  Brock  come  back  to  the 
village? 

ANTON 

Yes ;  five  weeks  ago.    He  brought  back  with  him  the 
girl  to  whom  he  was  betrothed. 


72         THE  LIGHT  OF  THE  WORLD 

MARNA 
(Brokenly) 
Betrothed? 

ANTON 

Yes;  they  are  up  in  the  church  now.  I  was  just 
going  there. 

MARNA 

You  mean  this  day  I  have  come  back  is  their  wed 
ding  day?  (As  ANTON  nods,  she  laughs  bitterly.) 
No  wonder  it  says  in  the  Bible  that  God  laughs.  He 
is  able  to  play  good  jokes  on  us,  isn't  He? 

ANTON 
I  thought  it  kindest  to  tell  you  straight  out. 

MARNA 

Yes.  But  how  did  you  know?  Does  everyone 
know? 

ANTON 
No  one  knows. 

MARNA 
(Scornfully) 
Simon  told  you? 

ANTON 

No.  Simon  didn't  tell  me.  I  guessed.  I  guessed 
it,  long  ago;  but  to-day  when  Simon  denied  it,  I  wras 
sure. 


THE  LIGHT  OF  THE  WORLD         73 

MARNA 

It  doesn't  matter.  And  all  the  time  I  was  gone,  all 
these  long  miles  coming  back,  I  knew  in  my  heart 
that  he  didn't  love  me. 

(Her  head  sinks  into  her  hands.    ANTON  goes 
to  her,  places  his  hands  compassionately  on  her 
shoulders.    She  rises.) 
I  must  go  on. 


ANTON 
You  are  too  tired. 

MARNA 

I  can't  stay  in  the  village.  I  wouldn't  have  come 
back—only  for  the  boy. 

ANTON 
The  boy? 

MARNA 

Yes,  I  thought  your  mother  would  be  here  and  I 
didn't  want  to  shock  her,  so  I  left  him  on  the  bench 
outside. 

(She  goes  out  as  ANTON  stands  surprised  and 
irresolute.) 

ANTON 
Marna!— -Marna!— This  alters  everything. 

(MARNA  appears  at  doorway,  with  the  baby 
in  her  arms.) 


74         THE  LIGHT  OF  THE  WORLD 

MARNA 

I  could  not  stay  here  while  his  child  was  beating 
at  my  heart. 

ANTON 
Simon's  child? 

MARNA 
Yes. 

ANTON 
He  didn't  tell  me  of  this. 

MARNA 

He  didn't  know.     He  doesn't  love  me  and  it's  too 
late. 

ANTON 
What  can  I  do? 

MARNA 

There's  nothing  to  do.     I'll  go  back  where  I  came 
from.     I  can  get  work  at  one  of  the  hotels. 

ANTON 
You  can't  go,  Marna.    You're  worn  out. 

MARNA 

But  who  in  this  village,  of  purity  and  righteousness, 
will  shelter  us? 

ANTON 

(He  goes  to  her  tenderly} 
You  shall  stay  here  with  my  mother  and  me.    Yes. 


THE  LIGHT  OF  THE  WORLD         75 

Come,  Marna.    Come,  my  dear,  and  rest  yourself  here. 

You're  cold!     I'll  get  you  some  warm  broth. 

(As  he  goes  out  to  the  kitchen  she  sinks  slowly 
into  the  chair  and  rests  there.  Then  her  eyes 
fall  on  the  white  robe  and  the  shepherd's  staff. 
She  realizes  what  they  mean.) 

Anton !     Anton ! 

ANTON 

Yes ? 

(He  comes  out  bearing  a  cup  of  broth.) 

MARNA 

(Pointing) 
What  do  these  mean? 

ANTON 

They  mean  that  from  to-day  on  I  am  going  to  strive 
to  do  as  Christ  would  do. 

MARNA 
You  have  been  chosen  to  play  the  Christus? 

ANTON 
Yes. 

MARNA 
Then  I  cannot  stay  here. 

ANTON 
You  can  stay  here. 


76         THE  LIGHT  OF  THE  WORLD 

MARNA 
But  this  house  is  consecrated,  as  you  are. 


ANTON 

Yes,  consecrated,  as  was  Jesus,  to  the  service  of  all 
those  who  are  weary  and  heavy  laden.  (Goes  to  her) 
Come,  my  dear,  come  and  sit  down.  (Takes  her 
toward  the  armchair.)  Drink  this. 

(He  holds  the  cup  of  broth  while  she  drinks.) 

MARNA 

But  think,  Anton,  there  will  be  many  who  are  only 
too  anxious  to  find  a  reason  to  condemn  you ;  men  who 
are  envious;  men  who  coveted  for  themselves  the 
honor  that  has  come  to  you. 

ANTON 
Not  many  surely. 

MARNA 

Yes,  yes,  Anton.  You  are  so  kind  and  generous 
yourself,  you  don't  realize  how  small  and  intolerant 
people  can  be.  They  will  say  you  have  no  right  to 
keep  here  in  this  house  a  woman  who  has  sinned. 

ANTON 

And  they  condemned  Him  because  they  said:  "  He 
consorts  with  publicans  and  sinners!  "  But  those 
words  didn't  frighten  the  Man  in  whose  way  I  wish 
to  tread,  Marna. 


THE  LIGHT  OF  THE  WORLD         77 

MARNA 

(With  a  certain  awe) 

Anton,  you  make  me  believe  again  in  the  goodness 
I'd  grown  to  hate.  (Rises)  But  no;  I  must  go. 
Anton,  I  must! 

(Outside  the  merry  wedding  song  is  heard.) 

ANTON 
Where  will  you  go? 

'  MARNA 

I  don't  know.  But  what  does  that  matter?  What 
does  anything  matter  now? 

ANTON 
Marna. 

MARNA 
What  is  that?    Those  voices?    It's  a  bridal  song. 

ANTON 
It's  the  wedding  party. 

MARNA 

Simon  and  his  bride?  They  are  going  to  pass  by 
here? 

ANTON 
They  are  coming  here. 

MARNA 
Coming?      (Draws  herself  up.)      Then   let   them 


78         THE  LIGHT  OF  THE  WORLD 

come.  We'll — (Indicating  the  baby)  be  the  first  to 
welcome  them.  We'll  wish  them  God's  speed  on  their 
bridal  journey! 

ANTON 

(Goes  to  her) 

If  you  do  wish  them  well,  you  will  say  nothing. 

MARNA 

Why  should  I  ?    No,  I  have  suffered  and  must  go  on 
suffering.     But  Simon  shall  suffer,  too. 

ANTON 

What  he  may  suffer  and  when  is  in  the  hands  of 
God. 

MARNA 

It  is  in  my  hands.    My  happiness  meant  nothing  to 
him.    Their  happiness  means  nothing  to  me. 

SIMON 
(Outside) 
Anton !    Anton ! 

(ANTON  beseeches  her  to  be  quiet  and  sit  down. 
She  goes  slowly  to  armchair  and  sinks  into  it, 
her  back  toward  the  door.  Her  head  drops 
over  her  baby  so  she  is  hardly  seen. 

SIMON  and  RUTH  enter,  followed  by  three 
or  four  small  children,  who  are  laughing  and 
shouting  and  throwing  rice  at  them.  The 
children  run  off — their  laughing  is  heard  during 
the  scene.) 


THE  LIGHT  OF  THE  WORLD         79 

SIMON 
Anton,  your  mother  told  us  the  news. 

RUTH 

It's  wonderful,  Anton,  I'm  so  glad.  I  can't  even 
tell  you. 

(MARNA  rises  irresolute.) 

ANTON 
Thank  you,  my  dear. 

RUTH 

(Seeing  MARNA  in  the  shadow) 
But  you  are  not  alone? 

ANTON 

(Waiting  tensely  to  see  whether  MARNA  will  speak 
or  disclose  her  identity.     But  MARNA  sinks 

into  the  chair  without  speaking) 
I  am  with  a  friend. 

SIMON 

(Not  recognizing  her) 

Anton,  you  said  to  me  "  this  is  the  happiest  day  in 
your  life  "  and  now  it  has  turned  out  to  be  the  happiest 
day  in  both  our  lives. 

RUTH 

I  hope  you  will  always  feel  that  the  happiest  day  in 
your  life,  Simon,  was  the  day  /  came  to  you. 


8o         THE  LIGHT  OF  THE  WORLD 

SIMON 

Of  course,  I  shall.  Don't  you  mean  everything  to 
me? 

RUTH 

And  I  am  so  happy  I  want  everyone  else  to  be 
happy,  too.  Don't  you,  Anton? 

ANTON 

If  that  only  could  be  so,  Ruth;  but  it  can't.  The 
hour  that  means  joy  to  some  must  mean  sorrow  to 
others. 

RUTH 
That's  so  like  you,  Anton. 

ANTON 

(Hurrying  them   off) 
But  I  must  not  delay  you  longer  on  your  journey. 

SIMON 

No.  It  will  be  dark  before  we  reach  the  valley 
road.  We  shall  be  back  in  our  new  home  a  week 
before  the  Passion  Play  begins. 

ANTON 
Good-bye. 

SIMON  and  RUTH 
Good-bye. 

(  They  go  off  as  the  laughter  of  children  follows 
them.) 


THE  LIGHT  OF  THE  WORLD         81 

MARNA 
(Passionately) 

No,  no.  I  won't !  I  can't  bear  it !  I  meant  to  cry 
out  but  something  stopped  me.  But  now  he  shan't 
go  away  with  her  like  that.  Simon!  Simon! 

ANTON 
(Stopping  her) 
Do  you  want  Simon? 

MARNA 

Do  I  want  him?  No!  I  only  want  to  let  her 
know  the  sort  of  man  she  is  taking  to  be  her  husband. 

ANTON 
He  loves  her  and  she  loves  him. 

MARNA 
Yes,  and  I  hate  him.    Hate  him,  do  you  understand  ? 

ANTON 

(Placing  his  hands  on  her  shoulders} 
What  can  hate  do,  Marna?  It  can  only  drag  down 
and  destroy.  But  love  can  make  him  into  something 
fine  and  noble.  Think  before  you  try  to  drag  him 
down,  Marna.  (She  feels  the  force  of  his  words.) 
It  is  in  your  power  to  keep  her  happy — always. 

MARNA 
You  mean  she  must  never  be  told? 


82         THE  LIGHT  OF  THE  WORLD 

ANTON 

Not  by  us.  Let  us  make  a  compact,  you  and  I, 
Mama.  This  secret  shall  be  between  us.  We  will 
never  tell  it,  either  of  us.  Promise  me? 

MARNA 

(Turns  and  goes  slowly  to  armchair) 
I    promise.      (Looks   at   baby,    then   at   ANTON.) 
Anton,  whatever  you  think  of  me,  you  don't  feel  that 
he  is  corrupted.    Tell  me  you  don't! 

ANTON 
(Goes  to  herf  with  gentle  reproach,  his  hand  under 

the  baby's  head) 

This  little  child?— Why,  Marna,  dear,  didn't  He 
say :  "  Of  such  is  the  Kingdom  of  Heaven !  " 


Curtain. 


THE  SECOND  ACT 

THE  OPEN  AIR  STAGE  OF  THE 
PASSION  PLAY  THEATRE 

Four  Weeks  Later. 


THE  SECOND  ACT 


the  curtain  rises  we  see  The  Passion 
Theatre  —  or  rather  the  portal  that 
stands  before  the  proscenium-arch,  for  the 
curtain  of  the  theatre  itself  is  down.  Upon  this  cur 
tain  are  painted  in  chiaroscuro  a  replica  of  Michael 
Angela's  Moses  flanked  in  the  side  panels  by  Isaiah 
and  Jeremiah. 

Against  this  background  PASTOR  SAUNDERS  is  con 
ducting  a  rehearsal  of  one  of  the  scenes  of  the  play:  to 
wit,  the  coming  of  the  Three  Wise  Men. 

The  performers  all  wear  their  costumes,  but  grouped 
on  the  side  where  THE  PASTOR  stands  with  his  prompt 
book,  are  a  number  of  understudies  and  helpers  who 
watch  the  playing  of  the  scene. 

The  entire  assemblage  is  singing  a  chant.  At  its  con 
clusion  shouts  of  "  Make  way.  We  bear  great  tidings  " 
are  heard  off. 

OMNES 

(Looking  off) 

What  is  it?  What  has  happened?  (Raising  their 
arms.)  Welcome,  stranger. 

FIRST  SHEPHERD 

(Entering) 

The  Messiah!    The  Messiah  has  come  to  Judah! 
85 


86         THE  LIGHT  OF  THE  WORLD 

OMNES 

The  Messiah!    The  Messiah!    To  Judah! 

FIRST  SHEPHERD 

God  has  honored  his  chosen  people.     It  is  to  our 
great  race  that  the  eyes  of  all  men  shall  turn,  to  our 
Messiah,  who  shall  be  the  Saviour  of  mankind. 
(The  Second  Shepherd  enters.) 

DATHAN 

Wait!  Wait!  What  authority  have  you  for  these 
tidings?  Where  is  this  man  who  claims  he  is  the 
Messiah  ? 

SECOND  SHEPHERD 

There  is  no  man.  The  Messiah  has  come  as  a 
child  born  of  woman.  This  is  the  night  of  His  nativity, 

OMNES 

(Look  at  each  other  in  awe) 
His  Nativity! 

DATHAN 

What  nonsense  is  this?  The  Messiah  a  new  born 
child? 

SECOND  SHEPHERD 

It  is  true.  Close  to  midnight  we  were  tending  our 
flocks,  good  master,  on  the  hill  beyond  the  olive  groves. 
Suddenly  the  clouds  above  us  seemed  to  part  and  a 
radiance  shone  down  upon  the  mountainside  as  though 
the  gates  of  Heaven  had  opened. 


THE  LIGHT  OF  THE  WORLD         87 

OMNES 
(Awed) 
Through  the  gates  of  Heaven ! 

SECOND  SHEPHERD 

And  then  we  heard  the  voices 

(The  chorus  of  angel  voices  sings.) 

FIRST  SHEPHERD 

(Catching  his  arms  and  interrupting  him) 
Hark!    Hark!    You  can  hear  them  now. 

OMNES 
Yes!    Yes! 

(All  turn  and  look  off  to  Heaven.  The  women 
raise  their  arms  in  supplication.  The  Shep 
herds  and  some  of  the  women  and  children  kneel 
in  prayer.) 

SECOND  SHEPHERD 
(As  singing  finishes) 
Can  you  doubt  now  ? 

OMNES 

No!    No! 

DATHAN 

We  must  summon  the  Priests;  they  should  hear  of 
this. 

SELPHA 
(Pointing  off) 
Look!     Look!    A  Caravan! 


88         THE  LIGHT  OF  THE  WORLD 

A  VILLAGER 

Aye  indeed,  a  mighty  caravan,  and  three  men  dressed 
in  strange  garments  walking  beside  their  camels. 

DATHAN 
Who  are  they? 

SELPHA 
Strangers  from  afar. 

FIRST  MAGI 
(Calling  off) 
Peace  be  with  you. 

OMNES 
Peace  be  with  you. 

FIRST  MAGI 

(Entering  with  his  arms  raised  In  "  token  of  friend* 
ship."    He  is  followed  by  the  other  two  Wise  Men) 
Peace  be  with  you! 

OMNES 
Peace  be  with  you! 

FIRST  MAGI 
Peace  and  good  will. 

OMNES 

Welcome. 

FIRST  MAGI 
Is  this  the  village  of  Bethlehem? 


THE  LIGHT  OF  THE  WORLD         89 

OMNES 
Yes,  yes.    This  is  Bethlehem. 

FIRST  MAGI 

(Turning  to  the  other  Wise  Men) 
Our  long  journey  has  ended,  my  friends.    We  have 
but  to  find  the  child. 

DATHAN 
The  child? 

FIRST  MAGI 

We  are  three  Wise  Men  come  from  distant  lands  to 
see  the  Messiah  of  the  Jews. 

SECOND  MAGI 
We  bring  him  gifts  to  lay  at  his  feet. 

DATHAN 
What  do  men  of  distant  lands  know  of  our  Messiah! 

OMNES 
Yes,  yes.    What? 

FIRST  MAGI 

The  Angels  of  God  have  told  us.  To-night  a  child  is 
born,  who  shall  be  as  the  brazen  Serpent  in  the  hands 
of  your  great  Moses.  (All  moved  with  awe.)  He 
shall  be  raised  up  for  all  men  to  see  the  goodness  and 
beauty  that  would  dwell  upon  the  earth,  if  we  could 
all  live  our  lives  in  the  pattern  of  His.  Raise  your 


90         THE  LIGHT  OF  THE  WORLD 

voices.  Cry  Hosanna!  For  this  is  the  great  day!  In 
a  humble  stable  stall  in  Bethlehem,  there  lies  the  Man 
of  Men!  The  Messiah.  The  Saviour! 

(As  he  lifts  his  hands  to  heaven  the  entire 
crowd  sings  the  Hosanna.  At  the  end  of  this, 
the  rehearsal  comes  to  an  end  and  they  all  break 
from  their  positions  amid  general  conversation.) 

PASTOR 
Very  good,  my  children. 

A  VILLAGER 
Listen  to  the  Pastor.     Sh! 

(They  all  are  attentive.  During  this  ADAMS, 
the  newspaper  man,  enters  and  mingles  with  the 
villagers. ) 

PASTOR 

To-morrow  we  will  rehearse  again  both  the  scene 
of  The  Three  Wise  Men  and  of  the  Garden  of  Geth- 
semane.  And  you  will  please  all  wear  your  costumes. 
Roman  Stadler,  our  art  director,  must  see  the  colors 
of  the  robes  for  his  groupings.  Will  two  of  the  little 
girls,  Agnes  Hettler 

AGNES 

(Running  to  PASTOR) 
Yes,  Pastor. 

(TIMOTHY  follows  her.    She  shoves  him  away.) 

PASTOR 
And  little  Ottilie 


THE  LIGHT  OF  THE  WORLD         91 

(A  little  girl  who  has  been  standing  with 
SELPHA  comes  through  the  players  to  the 
PASTOR.) 

OTTILIE 
Yes,  Pastor. 

PASTOR 

Please  collect  the  palms  and  give  them  in  charge  of 
my  sister? 

(Girls  collect  the  palms  from  the  choir  and 
carry  them  off.) 

TIMOTHY 
Can't  I  help? 

PASTOR 
No;  only  the  little  girls. 

TIMOTHY 
You  always  give  the  easy  things  to  them. 

PASTOR 

Sit   down,    Timmy.      I'll   find   plenty   for   you   to 
do. 

(PAUL  goes  to  TIMMY,  takes  him  by  the  scuff 
of  the  neck,  and  turns  him  at  the  same  time  seat 
ing  him.  His  mother  shakes  him  and  cuffs  his 
ears.  All  commence  to  chatter  and  laugh.) 

PASTOR 
One  minute,  my  dears.     I  have  just  a  few  more 


92         THE  LIGHT  OF  THE  WORLD 

words  to  say  and  these  concern  you  all.  (To  TIMO 
THY.)  Even  the  children. 

(TIMOTHY  and  a  little  girl  come  forward  and 
sit  down  facing  the  PASTOR.  AGNES,  OTTILIE 
and  her  little  brother  also  run  forward  and  sit 
down  at  the  PASTOR'S  feet.  All  turn  and  listen 
attentively.) 

In  one  week  from  to-day  you  will  hear  the  cannon 
boom  that  announces  the  commencement  of  the  twenty- 
fourth  Passion  Play.  For  two  hundred  and  eighty 
years,  we  have  kept  a  vow  made  at  the  time  of  the  great 
plague  and  presented  this  divine  tragedy  in  commemo 
ration  of  God's  mercy  and  to  His  honor  and  glory. 
I  want  the  play  of  this  decade  to  fall  behind  neither 
in  beauty,  in  conscientious  effort,  nor  in  the  reverence 
with  which  it  is  given. 

OMNES 
Yes,  certainly,  Pastor.    Yes,  we  will. 

PASTOR 

Pray  for  help  in  these  matters  and  work  hard  on 
every  task,  however  humble,  that  has  been  assigned  to 
you. 

OMNES 
Yes,  yes,  Pastor.    We  will.    Certainly. 

(All  bow  their  heads  and  reverently  clasp  their 
hands  as  he  offers  prayer.) 

PASTOR 

May  the  blessing  of  our  all-merciful  Father  rest  up 
on  your  efforts. 


THE  LIGHT  OF  THE  WORLD         93 

(The  choir  chants  the  Amen.  After  the  sing 
ing  stops  there  is  a  hushed  silent  prayer.  The 
PASTOR  turns  away  smiling  and  a  buzz  of  con 
versation  immediately  rises.  AGNES,  TIMMY 
and  other  children  join  hands  and  jump  about 
shouting  and  laughing.  The  FIRST  MAGI  grabs 
one  of  the  little  ones  and  lifts  him  above  his 
head.  Everything  in  confusion.) 

SUSANNA 
(To  PASTOR) 

May  I  speak  to  you  a  moment,  Pastor.     It's  about 
my  dress.     It's  impossible. 

PAUL 

(Taking  her  arm) 

Come,  Susanna,  the  Pastor  has  other  things  to  think 
of  besides  the  fit  of  your  robe. 

SUSANNA 

It  isn't  the  fit;  it's  the  color.     It  makes  me  look 
yellow. 

(VICTORIA  laughs.     SUSANNA  glares  at  her.) 

PAUL 

You  come  on  with  two  hundred  others  and  stand 
in  the  back  at  that.    Who'll  see  you? 

SUSANNA 

Heaven  sees  us.    The  Pastor  said  so.    And  I'm  not 
anxious  to  look  yellow  even  for  the  saints  and  angels. 


94         THE  LIGHT  OF  THE  WORLD 

PAUL 

Come  home.  (Takes  her  arm,  tries  to  lead  her 
away.)  It's  dinner  time  and  I'm  as  empty  as  a  broken 
kettle. 

SUSANNA 

(Slaps  his  hand  and  goes  to  PASTOR) 
But  why  can't  Victoria  wear  my  costume? 

PAUL 
Why,  she'd  look  yellower  than  you  would. 

SUSANNA 
Yes.    But  she's  so  yellow  it  wouldn't  matter. 

(VICTORIA  starts  towards  SUSANNA.  PASTOR 
stops  her.) 

PAUL 

(Taking  her  arm) 
Oh,  come  on,  I'm  hungry. 

(They  go  off,  passing  ADAMS  who  looks  after 
them  and  smiles.  The  villagers  and  players 
in  Passion  Play  go  off  talking  and  laughing  in 
two  and  threes.) 

RAYMOND 

Please,  Pastor,  couldn't  you  put  me  in  a  dressing- 
booth  with  someone  else  than  Peter  Cast? 


PASTOR 

Don't  tell  me  you  and  Peter  are  unfriendly.    That 
is  no  spirit  for  this  place. 


THE  LIGHT  OF  THE  WORLD         95 

RAYMOND 
(Peevishly) 

Oh,  we're  friendly  enough,  but  he  will  keep  pray 
ing  out  loud  while  I'm  studying  my  lines. 

PASTOR 

That's  dreadful.    I'll  see  what  can  be  done. 
(More  of  the  Villagers  go  off.) 

RAYMOND 

I  should  think  since  I'm  to  play  the  Apostle  Paul, 
I  might  have  a  dressing-booth  to  myself. 

(VICTORIA  grabs  him  by  the  arm  and  leads  him 
away.  AGNES  and  TIMOTHY  and  the  remainder 
of  the  Villagers  have  also  gone  off,  in  twos  and 
threes,  talking  together  as  they  go.  SELF  HA  and 
two  little  children  are  standing  by  watching.) 

ADAMS 
(To  PASTOR) 

Excuse  me.     Human  nature  is  just  about  the  same 
here  as  on  Broadway. 

PASTOR 
(Courteously) 
I  beg  your  pardon? 

ADAMS 

I  say,  human  nature  is  much  the  same  the  world 
over,  isn't  it? 


96         THE  LIGHT  OF  THE  WORLD 

PASTOR 

Yes ;  the  world  over  and  from  age  to  age,  it  changes 
very  little. 

ADAMS 
(Indicating) 
So  this  is  your  stage? 

PASTOR 

Part  of  it.  (Indicating}  The  tableaux  are  shown 
back  of  the  proscenium. 

ADAMS 
Tell  me,  Pastor,  who  makes  your  production? 

PASTOR 
Production  ? 

ADAMS 
Yes.    Do  you  use  painted  scenery? 

PASTOR 

As  little  as  possible.  Behind  this  arch  is  a  small 
rocky  amphitheatre.  We  use  that  just  as  it  is  for 
the  outdoor  scenes.  (Places  his  hands  to  his  mouth 
and  calling.)  Martin! 

MARTIN 

(Back  of  the  Passion  Play  Curtain) 
Yes,  Pastor. 

PASTOR 
Will  you  please  raise  the  curtain? 


THE  LIGHT  OF  THE  WORLD         97 

MARTIN 
Certainly,  I  will,  Pastor. 

PASTOR 

The  men  are  at  work  setting  the  stage  for  the  scene 
of  the  crucifixion. 

( The  curtain  slowly  rises  disclosing  two  crosses 
on  the  hill  of  Golgotha:  a  memorable  picture 
even  though  lacking  the  central  figure — the 
Cross  of  the  Saviour.  A  large  tree  with  over 
hanging  branches  is  also  visible  at  the  side  and 
in  back  and  at  the  sides  are  paths  through  the 
shrubbery  which  lead  off.  The  place  is  bathed 
in  warm  sunlight. 

Three  men  are  at  work  on  the  scene.  JONAS 
KURZ  is  spading  the  earth  out  of  a  hole  in  which 
the  central  cross  is  to  be  set.  JAMES  MAYRE, 
with  a  pick  in  his  handf  stands  facing  him. 
MARTIN  GAST,  a  pleasant  faced  elderly  manf 
is  pruning  one  of  the  bushes.  They  are  all 
three  in  their  work-a-day  clothes.) 

ADAMS 
Great  work! 

PASTOR 

The  only  thing  we  do  is  to  stretch  a  canopy  on  rainy 
days.  (Smiles)  It  wouldn't  do  to  have  Peter  and 
John  going  about  with  umbrellas. 

ADAMS 
Say,    I   think   it's   great   the   nice,   cozy  way   you 


98         THE  LIGHT  OF  THE  WORLD 

people  have  of  speaking  of  all  these  sacred  person 
ages. 

PASTOR 

Ah,  they're  real  to  us.  That  is  why.  I'm  afraid 
our  familiarity  sounds  like  sacrilege  sometimes  to  those 
for  whom  the  story  of  Jesus  is  more  a  pious  legend 
than  an  actuality.  But  I  must  ask  you  to  excuse  me, 
sir.  I  have  a  private  rehearsal  at  my  home  and  they 
are  waiting  for  me.  If  I  can  be  of  any  further  service 
to  you,  pray  command  me. 

ADAMS 

I  beg  your  pardon.  There's  one  thing  I'm  not  quite 
clear  on.  How  long  is  the  run? 

PASTOR 
(Puzzled) 
The  run? 

ADAMS 
Yes,  how  long  do  you  play? 

PASTOR 

Every  Sunday  from  the  first  of  June  to  the  end  of 
September. 

ADAMS 
And  then  you  lay  off  for  ten  years! 

PASTOR 
(Nonplussed)] 
Lay  off? 


THE  LIGHT  OF  THE  WORLD         99 

ADAMS 
Yes.    You  know.    Quit.    Lay  off. 

(CATALINA  whispers  to  the  Pastor.) 

PASTOR 
(Laughing) 

Lay  off!    I  never  heard  the  expression  before:  Lay 
off! 

ADAMS 
What  you  need  here  is  a  manager. 

PASTOR 
Yes ;  but  we've  been  running,  as  you  call  it,  since  1633. 

ADAMS 
Since  1633!    Some  run! 

PASTOR 

Yes.     Yes — I  understand.     (Turns  to  CATALINA 
and  VICTORIA  who  join  him.)     Some  run.     What  a 
quaint  expression.    Some  run.    I  must  remember  that. 
(They  go  off  laughing.) 

ADAMS 
(To  SELPHA) 

This  story  of  yours  has  certainly  got  the  popular 
appeal. 

SELPHA 
Naturally.    Yes.    Excuse  me! 

(She  and  the  children  go  off.    ADAMS  goes  up 
and  speaks  to  JONAS.) 


*oo       THE  LIGHT  OF  THE  WORLD 

ADAMS 
I  beg  your  pardon,  where  is  the  other  cross  ? 


JONAS 

(Looking  up) 

I  don't  know.  You'd  better  ask  Anton  Rendel.  He 
made  it. 

(Turns  back  to  his  work.) 

AGNES 
(Who  has  been  playing  on  the  roots  of  the  tree  with 

TIMMY) 

Anton  made  the  cross  before  he  knew  that  it  was 
to  be  his  cross. 

ADAMS 

Is  that  so?  I'll  use  that.  Tell  me,  little  girl,  did  he 
make  the  crosses  for  the  two  apostles? 

AGNES 
(Laughing) 

Apostles?  Those  crosses  aren't  for  apostles.  They're 
for  the  two  thieves. 

ADAMS 

Is  that  so?  I'll  remember  that.  Say,  I  never  thought 
I'd  live  to  regret  that  I  played  hooky  from  Sunday 
School. 

AGNES 
Why  even  little  Timmy  knows  that. 


THE  LIGHT  OF  THE  WORLD       101 

ADAMS 
(Humbly) 

I  don't  doubt  it.  I  bet  everybody  in  this  town  could 
put  it  all  over  me  when  it  comes  to  the  religious  dope. 

AGNES 

Why  did  they  send  you  here?  To  try  and  make 
you  good? 

ADAMS 

No.  I'm  afraid  the  managing  editor  isn't  much 
interested  in  the  state  of  my  soul.  The  paper  had 
arranged  with  a  prominent  minister  to  come  over  and 
write  about  the  Passion  Play.  But  he  was  taken  sick. 

AGNES 
And  are  you  a  minister,  too? 

ADAMS 
No.    I'm  a  baseball  reporter. 

TIMOTHY 
What  is  baseball? 

ADAMS 
(Horrified) 

What  is  baseball?  Say,  don't  you  ever  pick  on  me 
again  for  not  knowing  about  your  religion. 

TIMOTHY 
Oh,  it's  a  religion? 


102       THE  LIGHT  OF  THE  WORLD 

ADAMS 
You  bet  it  is.    Come  here. 

(TIMOTHY  jumps  down  from  tree.     ADAMS 
takes  his  hand.) 

You  come  with  me.     We'll  go  and  get  some  other 
little  heathen  and  I'll  try  and  teach  it  to  you. 

TIMOTHY 
(Draws  away) 
But  I'm  not  a  heathen. 

ADAMS 

Of  course  you're  not.     (Taking  his  hand  again.) 
But  you  come  with  me.     In  my  bag  at  the  hotel  I've 
got  a  glove  and  a  mask  and  a  ball.    Gee,  I  know  how 
it  feels  now  to  be  a  missionary. 
(They  go  off  together.) 

TIMOTHY 
(Outside) 

Come  on,  Agnes,  he's  going  to  teach  us  that  new 
game. 

AGNES 
Wait  for  me,  Timothy. 

(Jumps  down  from  tree,  and  runs  out  after 
them.) 

TIMOTHY 
(Off) 

I  can't  wait,  you're  too  slow  for  me. 


THE  LIGHT  OF  THE  WORLD       103 

AGNES 
(Off) 
Oh,  am  I?    I  can  beat  you  running. 

(MARTIN  and  JAMES  now  re-enter  up  the  hill. 
MARTIN  is  carrying  several  wedges  to  drive  into 
the  ground  to  stiffen  the  cross  and  JAMES  is 
carrying  a  wooden  socket  which  is  to  be  put  in 
the  hole  and  into  which  the  cross  is  to  be 
placed.) 

JAMES 

(Going  to  hole) 
Here's  the  socket  for  the  cross. 

JONAS 
(Indicating) 
All  right.    We've  dug  the  hole  for  it. 

MARTIN 

Anton  is  bringing  the  cross  down  himself.    I  passed 
him  on  the  hill. 

JONAS 

(Suspiciously) 
Alone? 

MARTIN 
No ;  old  Nathan  is  with  him. 

JONAS 

(Sits  on  rock  below  tree) 

Better  wait  till  they  get  here  and  be  sure  the  socket 
fits. 


104       THE  LIGHT  OF  THE  WORLD 

JAMES 

It's  all  right.      I  measured  the  base  of  the  cross  in 
Anton's  shop. 

(Puts  the  socket  in  the  hole  for  the  cross. 
Then  he  and  MARTIN  stamp  the  earth  around 
it  to  hold  it  in  position.) 

JONAS 
Tell  me:  did  you  see  her  there? 

JAMES 
Who? 

JONAS 

The  strange  woman  who  stays  within  doors,  and  only 
walks  out  at  night. 

MARTIN 
Some  relative  from  Kroonwald  or  Berne,  most  like. 

JONAS 

Then  why  don't  they  ask  the  neighbors  to  come  in 
and  drink  a  cup  of  coffee  with  her? 

MARTIN 

You  know  they  have  no  time  for  such  things  at  this 
season. 

JONAS 

I  know  that  there  is  some  mystery  about  her,  and 
that  their  door  is  kept  closed  and  the  latch  set. 


THE  LIGHT  OF  THE  WORLD        105 

JAMES 

Jonas  is  right.  Else  why  would  this  woman  never 
go  with  them  to  the  church? 

JONAS 
Yes,  tell  me  that,  Martin  ? 

MARTIN 

Why  don't  you  question  Anton,  if  this  woman  so 
concerns  you? 

!  JONAS 

I  did  question  Nathan. 

MARTIN 
(Chuckling) 
I'll  wager  you  got  little  out  of  him. 

JONAS 

He  answered  that  Anton  had  a  great  deal  of  business 
just  now  and  how  would  I  like  to  hire  myself  to  help 
him  mind  it? 

MARTIN 
(Laughs) 
That's  just  what  he  would  say. 

JONAS 

Oh,  so  you  think  it  funny  that  a  Jew  should  be 
allowed  to  speak  that  way  to  a  Christian  ? 

MARTIN 
To  such  a  Christian  as  you  are — surely.     Besides, 


106       THE  LIGHT  OF  THE  WORLD 

he's  right.    This  woman  you  talk  of  is  no  business  of 
yours. 

JONAS 

It's  the  business  of  every  man  to  guard  the  honor  of 
the  village.  Didn't  the  Pastor  charge  us  each  to  see 
that  at  this  time  especially  the  village  should  be  kept 
pure  and  holy? 

JAMES 
Do  you  think  the  Pastor  knows  about  this  woman? 

JONAS 
No;  for  I  sounded  him. 

MARTIN 

That's  strange  enough  surely,  with  all  the  gossips 
there  be  in  this  town. 

JONAS 

(Raising  his  voice) 

Gossip  or  not,  I  want  to  know  who  this  woman  is, 
and  what  she  is  doing  in  the  house  of  the  man  who 
plays  the  Christus! 

(ANTON  and  NATHAN  come  in,  bearing  the 
cross  between  them.    They  hear  the  last  speech.) 

ANTON 
Very  well,  Nathan.    We  will  put  it  down  here. 

JONAS 

(Turning,  confused,  when  ANTON  looks  at  him) 
Ah,  Anton.    So  you've  brought  the  cross? 


Yes. 


THE  LIGHT  OF  THE  WORLD       107 

ANTON 


JONAS 

(After  a  pause) 
Well,  we've  made  ready  for  its  setting. 

ANTON 

(Going  to  JONAS) 

What  is  it  that  you  wish  to  know  about  my  house, 
Jonas  ? 

JONAS 

(Repeats  as  though  not  understanding) 
About  your  house?    Oh,  you  mean  what  James  and 
I  were  saying  when  you  came  in? 

ANTON 
What  you  were  saying. 

MARTIN 

Jonas  wants  to  know  about  a  woman  that  he  says 
is  living  at  your  house. 

NATHAN 

The  hound  that  is  always  sniffing  for  refuse  has 
had  his  nose  well  trained  in  his  own  kennel. 

JONAS 

That   will   do.      I   want   none   of   your   Hebrew 
proverbs. 


io8       THE  LIGHT  OF  THE  WORLD 

ANTON 
Listen  to  me:  all  of  you  here  are  my  friends. 

JONAS 

All  I  wish  is  that  you  would  speak  out  and  stop  the 
cackle  of  these  slanderers.  I  have  defended  your  name 
whenever  I  have  heard  them  gossiping,  Anton.  In 
fact  I  have  always  tried  to  behave  like  a  true  friend. 

NATHAN 

Oh,  what  a  mistake  that  council  made  when  they 
failed  to  give  you  the  part  of  Judas. 

ANTON 

Please,  Nathan.  (To  JONAS)  I  had  no  idea  there 
had  been  talk  in  the  village  about  the  girl  that  my 
mother  and  I  have  been  sheltering. 

JONAS 

I  have  told  all  who  spoke  to  me  that  I  was  su.e  she 
was  some  relative. 

ANTON 

No.  She  is  no  kin  of  ours  except  as  all,  who  are 
needy  and  suffering,  are  our  kin. 

JONAS 

Well,  no  one  can  gainsay  your  right  to  have  a  visitor 
come  and  stay  with  you. 

ANTON 
She  is  not  a  visitor  either.    She  is  only  one  who  has 


THE  LIGHT  OF  THE  WORLD       109 

had  her  share  of  life's  bufferings  and  who  asks  nothing 
but  to  go  her  way  unnoticed  for  a  while. 


JAMES 
She  wants  to  be  alone? 

ANTON 

For  a  little  time,  yes.  But  I  have  been  planning, 
as  soon  as  we  are  freed  from  our  preparations  for  the 
play,  to  ask  my  friends  to  come  and  help  make  life 
easier  for  her. 

JONAS 
You  wish  me  to  tell  this  to  the  gossipers? 

ANTON 

Will  you?  Tell  all  my  friends  that  I  cannot  speak 
more  freely  yet.  I  have  given  my  word. 

JAMES 

But  if  she  does  not  wish  you  to  say  her  name,  it  must 
be  someone  who  is  known  to  us? 

ANTON 
(Hesitating) 
Why,  I 

NATHAN 
(Breaking  in) 

Do  you  want  to  see  to  the  setting  of  the  cross 
now? 


i  io       THE  LIGHT  OF  THE  WORLD 

ANTON 

Yes.  (He  goes  up  and  raises  it;  NATHAN  starts  to 
help  him.)  No,  thank  you,  Nathan.  I  have  to  carry 
it  alone  in  the  play.  It's  as  well  that  I  should  know  its 
weight. 

(JONAS  draws  JAMES  aside.  MARTIN  hurries 
on  to  rock  to  guide  the  end  of  cross  into  the 
socket  in  the  hole  if  necessary.  Then  he  drives 
a  wedge  into  the  socket  to  stiffen  the  cross.  The 
others  are  silent  till  the  cross  is  up.) 

JONAS 

(In  a  low  voice,  to  JAMES) 
There:  what  did  I  tell  you!    This  woman  is  a  bad 
lot. 

JAMES 
Living  in  the  house  of  the  Christus! 

(TIMOTHY  runs  in  carrying  a  toy  wooden  gun.) 

TIMOTHY 
Anton !    Anton ! 

ANTON 
Ah,  Timmy! 

TIMOTHY 

Look  what  Ruth  brought  me  back  from  the  place 
where  she's  been. 

ANTON 
What!     Have  Ruth  and  Simon  come  back? 

(He  and  NATHAN  exchange  looks  of  pleasure.) 


THE  LIGHT  OF  THE  WORLD        in 

TIMOTHY 

Yes;  they  came  an  hour  ago.    They  are  up  at  their 
new  house. 

ANTON 

I  must  go  up  and  greet  them. 
(He  goes  out.) 

TIMOTHY 
(To  NATHAN) 

Isn't  it  a  splendid  gun,  Nathan?     Oh,  I  wish  I 
could  find  a  bear  to  shoot! 

NATHAN 
There  are  a  couple  of  jackals  over  there. 

(Pointing  to  JONAS  and  JAMES  who  are  talk 
ing  together.  TIMOTHY  shortly  after  pretends 
to  stalk  an  animal  and  goes  out  of  sight  in  the 
bushes.) 

TIMOTHY 
Where?    Where  are  the  jackals,  Nathan? 

JONAS 

Well,  I  hope  it  is  all  right,  but  I  don't  fancy  all  these 
mysteries  and  concealments. 

JAMES 

No,  the  life  of  one  who  bears  such  responsibility  as 
Anton  should  be  open  and  fearless. 


112       THE  LIGHT  OF  THE  WORLD 

JONAS 

(Shaking  his  head  sorrowfully) 
I'm  afraid  these  words  of  his  are  not  going  to  stop 
the  tongues  from  wagging. 

NATHAN 
As  to  that  none  should  know  better  than  you,  Jonas. 

JONAS 
What  do  you  mean? 

NATHAN 

What  ails  your  wits,  James  Mayre?  And  you, 
Martin,  that  you  listen  to  the  words  of  this  fellow? 
Don't  you  know  he  is  eaten  up  with  envy  ?  Can't  you 
see  how  he  hates  the  man  who  was  given  the  honor  he 
hoped  to  win?  He  wanted  the  role  of  the  Christus 
himself.  He  felt  he  had  the  gift  for  it. 

JONAS 
It's  a  lie. 

NATHAN 

A  lie,  is  it?  Then  if  it  isn't  for  malice,  why  did  I  find 
you  skulking  about  Anton's  house  in  the  dark  and 
trying  to  peer  through  the  crack  of  the  shutter? 

JONAS 

(Goes  toward  him,  raising  his  arm) 
By  Heaven,  if  you  weren't  an  old  man! 


THE  LIGHT  OF  THE  WORLD        113 

NATHAN 
(  Contemptuously  ) 

Strike  me.  Don't  let  that  stay  you.  I'm  a  Jew, 
remember ! 

JONAS 

Yes,  you're  a  Jew  and  we've  borne  with  you  here  be 
cause  your  friend,  Anton,  took  you  under  his  wing. 
But  wait;  Anton's  power  here  may  fail  and  when  it 
does,  I  warn  you,  you'd  better  start  quickly  back  down 
the  road  that  brought  you  here. 


JAMES 
That  is  right. 

NATHAN 

Yes;  "  drive  the  Jew  from  your  gates!  "  "  Cleanse 
your  Temples!  "  No  matter  that  those  temples  were 
given  you  by  a  Jew.  Have  you,  who  hate  the  Jew  so 
bitterly,  ever  stopped  to  think  that  if  it  were  not  for 
our  race  you  would  have  no  Holy  Book,  no  Apostles, 
no  Saviour?  Very  well,  my  friends,  if  Anton's  is  the 
only  Christian  voice  that  will  speak  for  me:  when  that 
voice  is  unheeded  I  will  be  glad  to  take  up  my  staff 
and  go  back  to  my  own  people! 

(Draws  himself  up  proudly  and  goes  out.) 


MARTIN 

Is  it  true,  Jonas,  that  you  tried  to  peep  through 
Anton's  shutter? 


ii4       THE  LIGHT  OF  THE  WORLD 

JONAS 
(Defiantly) 
And  what  if  I  did? 

JAMES 

It  is  right  to  do  anything  to  keep  a  scandal  from 
touching  the  village. 

TIMOTHY 
(Coming  in) 
Where  has  Nathan  gone? 

JONAS 
Timothy!    Oh,  Timmy!    Come  here. 

TIMOTHY 
Yes? 

JONAS 
Tell  us,  Timmy,  you  live  next  door  to  Anton? 

TIMOTHY 
Yes. 

JONAS 
And  you  go  often  to  his  house? 

TIMOTHY 
Anton  is  my  friend. 

JONAS 

We  want  to  ask  you,  Timmy,  about  the  woman 
who  is  staying  at  Anton's. 


THE  LIGHT  OF  THE  WORLD        115 

TIMOTHY 
I  like  her. 

JONAS 
Do  you  know  her  name? 

TIMOTHY 
Anton  calls  her  Marna. 

JONAS 
Marna! 

MARTIN 

(Steps  toward  TIMMY) 
Not  Marna  Lynd? 

TIMOTHY 
I  don't  know. 

JONAS 
Of  course,  it's  Marna  Lynd! 

JAMES 

Didn't  I  say  his  words  showed  it  must  be  someone 
known  to  us? 

JONAS 
That  wild  creature! 

JAMES 

(To  TIMOTHY) 
What  is  she  doing  there? 


ii6       THE  LIGHT  OF  THE  WORLD 

TIMOTHY 
I  wish  she  wasn't  there. 

MARTIN 
Why? 

TIMOTHY 

Anton's  mother  is  always  saying  we  mustn't  play  see 
saw  with  the  long-boards  any  more  like  we  used  to, 
nor  laugh,  nor  talk  out  loud. 

JAMES 
And  why  not? 

MARTIN 

Anton  said  she  was  sick. 

TIMOTHY 

No.  It  isn't  for  her  we  must  keep  quiet,  but  the 
baby. 

JAMES 

(Looks  at  MARTIN  dumbfounded) 
The  baby! 

JONAS 
So  that's  it! 

MARTIN 

My  wife  said  at  the  time  when  Mama  left  that  that 
must  be  the  reason. 

JAMES 

And  she's  so  bold  and  shameless  she  brings  her  child 
back  to  the  village. 


THE  LIGHT  OF  THE  WORLD        117 

JONAS 
And  into  the  sacred  home  of  the  Christus! 


MARTIN 

Anton  surely  should  know  better  than  to  give  lodg 
ing  to  a  wanton  at  this  season. 

JONAS 

If  this  gets  about  a  fine  mock  they'll  make  of  our 
vows  of  holy  living. 

MARTIN 
It  mustn't  get  about. 

JAMES 
(Starting) 
We  must  tell  the  Pastor  at  once. 

MARTIN 
(Stops  him) 

No,  no,  wait.  Anton  has  always  been  a  good  friend 
and  neighbor  to  us.  And  it  is  not  for  us  to  turn  tale 
bearer  against  him. 

JONAS 

Are  you  going  to  let  this  woman  stay  in  his  house 
till  the  strangers  begin  to  gather  in  the  village  ? 

MARTIN 

But  can't  we  be  rid  of  her  without  running  to  the 
Pastor  like  a  pack  of  children?  No,  no.  We  will 
see  the  girl  ourselves  and  tell  her  she  must  go. 


ii8       THE  LIGHT  OF  THE  WORLD 

JAMES 
What  do  you  think,  Jonas? 

JONAS 

'Tis  just  the  same  as  telling:  to  go  to  the  house  and 
turn  her  and  her  child  down  the  road. 

MARTIN 

No ;  we  won't  do  that  either.  We'll  send  for  her  to 
come  here  and  talk  with  us.  (Turning  to  TIMOTHY 
who  is  stalking  in  back.)  Timmy! 

TIMOTHY 
Yes. 

MARTIN 

Look :  we  want  you  to  run  fast  to  Anton's  house  and 
ask  for  Marna  Lynd. 

TIMOTHY 
What? 

MARTIN 

Marna  Lynd.  Say  the  name  clear.  (To  others) 
She  must  know  that  it's  no  more  a  secret.  (To 
TIMOTHY)  Say  that  she  is  to  come  here. 

TIMOTHY 
But  she  never  goes  out  anywhere. 

MARTIN 

Say  that  if  she  doesn't  come  and  quickly,  it  will  mean 
harm  to  Anton. 


THE  LIGHT  OF  THE  WORLD       119 

TIMOTHY 
(Impressed) 
Harm  to  Anton  ? 

MARTIN 
Yes,  run.     Run  quick! 

TIMOTHY 

If  it's  for  Anton,  she'll  come. 
(TIMOTHY  runs  off.) 

SIMON 
(Outside) 
Hello,  Timmy! 

TIMOTHY 
(Off) 

Hello! 

JAMES 
Here's  Simon. 

JONAS 

Be  careful  what  you   say   to  him  of  this.   He  is 
Anton's  best  friend. 

(SlMON  enters  up  hill  in  back.) 

SIMON 

Well,  your  work  doesn't  seem  to  be  very  hard  this 
year. 

JAMES 
Why,  here's  the  young  bridegroom. 


120       THE  LIGHT  OF  THE  WORLD 

MARTIN 
Welcome  home! 

SIMON 

We  just  got  back  an  hour  ago.    Tell  me,  how  is  the 
play?    What  is  the  news  in  the  village? 

MARTIN 

News  we've  just  heard   on   which  you  can   give 
counsel,  Simon. 

JONAS 

(Aside  to  MARTIN) 
Fool! 

SIMON 
(To  JONAS) 

What  is  it?    Have  those  players  in  Berne  tried  to 
get  our  great  actor  to  join  them  again? 

MARTIN 

Simon,  a  little  while  ago  we  learned  that  there  is 
a  wanton  in  the  village. 

SIMON 
(Startled) 
A  wranton? 

MARTIN 

Yes.     Lodging  here  in  the  Passion  Season  with  a 
child  born  out  of  wedlock! 


THE  LIGHT  OF  THE  WORLD       121 

JAMES 
And  the  visitors  already  beginning  to  come. 

MARTIN 

For  that  reason  I  say  we  should  be  rid  of  her  as 
quietly  as  possible. 

SIMON 
Surely. 

MARTIN 

But  Jonas  is  not  agreed.   He  is  for  telling  the 
Pastor  and  having  her  questioned. 

JONAS 

No,  no.    But  I  say,  we  should  question  her.    We 
should  know  who  is  the  father  of  the  child. 

SIMON 
You  mean  she  is  one  of  our  own  village  girls? 

JONAS 

We  must  be  sure  that  he  who  sinned  with  her  is  not 
playing  in  the  sacred  drama. 


RUTH 

(Calling  off) 
Simon ! 

JAMES 
'Tis  your  wife,  Simon. 


122       THE  LIGHT  OF  THE  WORLD 

SIMON 

(Speaks  in  lower  voice  to  JONAS) 
Learn  what  you  can  surely;  but  Martin  is  right: 
it's  best  to  keep  it  quiet.    The  eyes  of  the  world  are 
on  our  village  now. 

MARTIN 
We  have  sent  for  her  to  speak  with  her. 

SIMON 

Then  tell  her  to  take  her  child  and  leave  the  village 
at  once. 

(RuTH  enters  over  hill.) 

MARTIN 
(Detaining  him) 

There  is   reason   why   'tis  better  for  her  to  wait 
till  night-fall. 

RUTH 

Simon,  I  just  met  old  Nathan  and  he  tells  me  that 
Anton  has  gone  up  to  our  house  to  greet  us. 

SIMON 
How  is  it  we  didn't  pass  him  on  the  road? 

JAMES 
He  was  here  when  he  heard  that  you  had  returned. 

SIMON 
Oh,  then  he  went  up  through  the  wood  path. 


THE  LIGHT  OF  THE  WORLD        123 

(  SIMON   and   RUTH    sit   on   rock   whispering 
happily  together.) 

JONAS 

(Aside  to  MARTIN) 
But  what  of  Marna? 

MARTIN 

We  will  talk  with  her  out  at  the  gate.    And  we  can 
be  mending  that  broken  turnstile  while  we  wait. 

JONAS 
I  must  go  back  to  the  village.    I  shall  not  be  long. 

MARTIN 
(Suspiciously) 
What  business  have  you  got  there? 

JONAS 

My  own  business,  Martin.     Shall  I  give  you  the 
old  Jew's  saying?    The  one  that  made  you  laugh? 
(Goes  out.) 

MARTIN 

(Looking  after  him.) 
I  wonder  what  mischief  that  fox  is  planning. 

JAMES 
(Smiling  at  SIMON,  who  has  just  put  his  arm  about 

RUTH'S  shoulder) 

What!    Haven't  you  two  had  enough  of  loving  and 
fondling  on  your  bridal  journey? 


124       THE  LIGHT  OF  THE  WORLD 

SIMON 
No ;  and  we're  never  going  to  have  enough  either. 

JAMES 

My  wife  tells  me  I  used  to  talk  like  that  but  I 
don't  believe  it. 

(The  men  laugh  and  go  out  together.) 

RUTH 
Simon,  what  were  they  asking  you  when  I  came  in  ? 

SIMON 
Nothing,  dear  one,  that  you  need  be  troubled  with. 

RUTH 
But  I  don't  want  you  to  have  any  secrets  from  me. 

SIMON 
Secrets? 

RUTH 

I  want  to  be  a  real  mate.  I  want  to  feel  that  you 
trust  me  and  would  share  everything  with  me,  big 
and  little. 

SIMON 

Yes,  I  know,  dear;  but  if  there  are  things  that  are 
ugly  or  would  make  you  feel  sorry  and  sad? 

RUTH 
Even  those  things,  dear,    For  if  sharing  a  joy  makes 


THE  LIGHT  OF  THE  WORLD       125 

it  twice  as  much,  sharing  a  load  makes  it  half  as 
heavy.  So  tell  me,  why  did  you  hush  your  voices 
just  now,  when  I  came  near  you? 

SIMON 

They  say  there's  a  woman  living  in  the  village  who 
has  borne  a  child  out  of  wedlock  since  we've  been 
away. 

RUTH 
Oh,  Simon! 

SIMON 

And  thinking  of  the  vow  to  keep  the  place  clean  and 
holy,  they  want  to  send  her  away  before  the  strangers 
begin  to  come. 

RUTH 

What  have  the  strangers  coming  got  to  do  with 
its  being  clean  and  holy  ? 

SIMON 

Why,  they'll  talk  and  make  it  seem  to  the  world 
that  our  village  is  no  better  than  any  other  village. 

RUTH 

Oh!  I  see.  So,  they  make  it  clean  by  sending  away 
a  sweet,  little,  innocent  baby  instead  of  driving  out 
the  man  who  wronged  this  poor  girl! 

SIMON 
Why,  Ruth! 


126       THE  LIGHT  OF  THE  WORLD 

RUTH 

(With  irony) 

Some  stranger  might  ask  questions  about  the  child 
and  its  mother.  That  is  why  she  must  go.  While 
the  father  may  stay.  And  when  she  is  gone  the  village 
will  be  clean.  Yes,  just  as  clean  as  any  other  whitened 
sepulchre ! 

SIMON 

(Goes  to  her) 
Ruth,  what  are  you  saying? 

RUTH 

Surely,  you  can  make  them  see?  They  don't  realize 
it.  That  is  all.  But  they  will  listen  to  you,  Simon. 

SIMON 
What  do  you  want  me  to  do  ? 

RUTH 

Tell  them  if  they  must  have  shame  and  punishment, 
to  place  it  where  it  belongs:  upon  the  man. 

SIMON 
But  they  say  the  girl  is  a  wanton. 

RUTH 

Even  then  the  man  should  be  made  to  share.  She 
has  given  a  child  life  at  the  risk  of  her  own.  She 
has  suffered.  He  has  only  enjoyed.  Tell  them  that, 
Simon! 

(TIMOTHY  runs  on  followed  by  MARNA.) 


THE  LIGHT  OF  THE  WORLD        127 

TIMOTHY 
(Looking  around) 
They're  not  here ! 

(SiMON  turns  at  the  sound  of  the  child's  voice 
and  sees  MARNA.   There  is  a  moment's  silence.) 

MARNA 

(Almost  inaudibly) 

Excuse  me.     I  was  looking  for  some  friends. 
(She  turns  away) 

SIMON 
Mama! 

MARNA 
Come,  Timmy,  we'll  be  going. 

(TiMOTHY  runs  to  her.     She  catches  him  by 
the  shoulders  to  steady  herself.) 

SIMON 

(With  an  effort) 

Marna,  I — I  didn't  know  you'd  come  back  to  the 
village. 

MARNA 
I've  been  back  the  month  past. 

RUTH 

(Sweetly) 

Are  you  the   Marna   I've  heard  Anton's  mother 
speaking  of? 


128       THE  LIGHT  OF  THE  WORLD 

MARNA 
Yes,  I'm  the  Marna  who  ran  away  from  the  village. 

RUTH 

I  know:  because  someone  was  cruel  to  you.    I  used 
to  feel  so  sorry  for  you  when  they  talked  of  it. 

MARNA 

(Rather  coldly,  keeping  her  eyes  on  SIMON) 
Thank  you,  but  I  didn't  deserve  your  sympathy. 

RUTH 

(Placing  her  hand  on  SIMON'S  arm) 
Well,  Simon.     Have  you  lost  your  tongue?    You 
know  you  haven't  introduced  me  to  Marna. 

MARNA 

I  know  you  are  Simon's  wife.     I  have  seen  you 
before. 

RUTH 
You  have?     (She  goes  to  her.)     When? 

MARNA 
In  Anton  Rendel's  shop. 

SIMON 
You  were  the  woman  that  day — ? 

MARNA 
Yes:  the  hour  you  were  married. 

(There   Is   again   a   moment's  pause.     RUTH 
feels  some  strain  In  the  situation.) 


THE  LIGHT  OF  THE  WORLD       129 

RUTH 

Timmy,  did  you  see  Anton  when  you  passed  our 
house  ? 

TIMOTHY 

No. 

RUTH 

I  think,  Simon,  I  won't  wait  longer.  I  will  go  on 
to  Anton's  house  and  greet  Aunt  Mary. 

SIMON 
I'll  go  with  you. 

RUTH 

Aren't  you  going  to  do  what  I  asked?  (He  doesn't 
understand.)  Speak  to  those  men,  dear.  Make  them 
see. 

SIMON 
I'll  do  what  I  can. 

RUTH 
I'm  so  glad.    Are  you  going  home,  Timmy? 

MARNA 

(Gazing  at  SIMON) 
Yes,  Timmy,  go. 

TIMOTHY 

(Starts  up  after  RUTH) 

All  right.  You  needn't  be  afraid  of  anything,  Ruth. 
I've  got  my  gun. 


130       THE  LIGHT  OF  THE  WORLD 

RUTH 
I'll  wait  there  till  you  come  for  me,  Simon. 

SIMON 
All  right. 

TIMOTHY 

(As  they  go  off  together,  over  the  hill) 
Nathan  says  there  are  jackals  in  this  place;  but  there 
aren't  any  jackals,  are  there? 

RUTH 
(Outside) 
Perhaps  he  means  wolves. 

MARNA 

Well,  Simon,  I  have  often  pictured  what  way  we 
should  meet;  but  I  didn't  think  it  would  be  here. 

SIMON 
I  thought  that  you  had  left  the  village  for  good. 

MARNA 
You  hoped  that  I  had. 

SIMON 

I  hoped  that  you  had  found  a  happiness  you  never 
found  here. 

MARNA 

I  found  happiness  here  once,  for  a  few  days  in  the 
Springtime.  Do  you  remember?  (Bitterly)  Or  have 
these  last  Spring  days  made  you  forget  that  other  time  ? 


THE  LIGHT  OF  THE  WORLD       131 

SIMON 
You  have  a  right  to  lash  me. 

MARNA 

No,  I  haven't.  You're  not  to  blame.  The  blame 
lies  on  the  world  which  tells  a  man  he  must  deck 
out  his  passion  with  a  pretence  of  love  if  he  would 
raise  himself  above  the  brutes. 

SIMON 
It  isn't  true.     I  did  love  you — only • 

MARNA 

Only  not  enough.  And  so  you  took  the  cruel  soft 
hearted  way  and  left  me  without  a  word,  instead  of 
telling  me  the  truth. 

SIMON 
I  thought  that  you  would  forget  me. 

MARNA 

And,  anyway,  you  could  forget  me  and  not  have  to 
face  tears,  reproaches  or  pleading. 

SIMON 
If  you  knew  how  bitterly  I've  repented. 

MARNA 
(With  scorn) 

Repentence?  What  good  is  that?  Does  your  re- 
pentence  give  me  back  my  good  name? 


132       THE  LIGHT  OF  THE  WORLD 

SIMON 
Your  good  name?    What  do  people  know? 

MARNA 
Not  about  you.    Have  no  fear. 

SIMON 
But  how  did  they  find  out? 

MARNA 

They  haven't  all  found  out — yet.     But  they  will. 
There's  no  helping  that.    Our  child  tells  my  story. 

SIMON 
(Dumbfounded,  he  turns  slowly  to  her) 

Our  child! 

/ 

MARNA 

Yes:    Oh!  don't  pretend  surprise.    You  must  have 
guessed  why  I  went  away. 

SIMON 
(Hoarsely) 
Before  God,  I  didn't.    Oh,  Marna:  this  is  terrible. 

MARNA 

That  you  destroyed  my  innocence  is  nothing?    But 
that  we  created  innocence  is  terrible? 

SIMON 

(With  sudden  apprehension) 
Marna,  why  did  you  come  here  now? 


THE  LIGHT  OF  THE  WORLD       133 

MARNA 
Why? 

SIMON 
Yes,  tell  me:  were  you  sent  for? 

MARNA 

Yes,  little  Tfmmy  brought  me  a  message.  He  said 
if  I  didn't  come,  it  might  mean  harm  to  Anton 
Rendel. 

SIMON 
Anton? 

MARNA 
I  am  living  in  his  home. 

SIMON 

Then  it's  you.  It's  you  they  meant !  Oh !  my  God, 
and  I  said — what  did  I  say? 

MARNA 
What  is  it?    What  do  you  mean? 

SIMON 

They  said:  "There  is  a  woman  with  a  love-child, 
living  in  this  village  "  and  /  said :  "  They  cannot  stay 
here,  they  must  be  driven  away." 

MARNA 
You  said  that? 


134       THE  LIGHT  OF  THE  WORLD 

SIMON 

My  own  child !    I  was  asking  them  to  drive  out  my 
own  child! 

(ANTON  enters  and  stands  on  mound  looking 
down  on  them  in  surprise.) 

ANTON 
Marna!     And  Simon! 

SIMON 

(Choking  down  his  emotion) 

Anton,  Marna  tells  me — Did  you  say  that  it  is  at 
Anton's  home  that  you  are  staying? 

MARNA 

(Still  gazing  at  him  incredulously) 
Yes. 

SIMON 

(Turning  to  ANTON) 
Then  you  know ? 

ANTON 
Yes.    I  know. 

SIMON 

(To  MARNA) 
And  who  else?    Tell  me  who  else  knows? 

MARNA 

That  you  are  the  father  of  my  boy?     No  one  in 
all  the  world  knows  that  but  we  three  here. 


THE  LIGHT  OF  THE  WORLD       135 

SIMON 
Thank  Heaven! 

MARNA 

Yes,  and  you  may  thank  Anton,  too.  It  was  he  who 
stopped  me  from  crying  out  the  truth  that  evening  in 
his  shop. 

SIMON 
You  would  have  told  my  wife? 

MARNA 
(Bitterly) 

Your  wife  in  name  she  was  then,  while  I  was  your 
wife  in  truth. 

SIMON 
But  you  won't  tell  her  ?    You'll  never  let  her  know  ? 

ANTON 

(Coming  to  them) 

Why  are  you  afraid,  Simon  ?  Ruth  knows  that  you 
wronged  someone  and  it  didn't  make  her  love  you  the 
less. 

MARNA 
(Halted) 
You  told  her  that? 

SIMON 
(As  though  it  were  wrung  from  him) 

No. 


136       THE  LIGHT  OF  THE  WORLD 

ANTON 

(Hardly  believing) 

But  that  afternoon  in  the  shop  you  said  you  told 
her. 

SIMON 

I  lied  to  you,  just  as  I  lied  to  her.  I  hadn  t  the 
courage  to  tell  her.  You  understand  so  much,  Anton, 
but  you  don't  understand  love. 

ANTON 

No? 

SIMON 

You  don't  know  what  it  means  to  love  a  woman  the 
way  I  love  Ruth. 

MARNA 
(With  a  sudden  idea  as  she  thinks  she  can  separate 

them) 
So,  you  thought  you  would  lose  her? 

SIMON 

Yes;  and  I  should  have.  I  know  it  now.  And  if  I 
should  have  lost  her  then,  I  should  lose  her  now  a 
thousand  times  more;  for  I've  lied  to  her  and  every  lie 
has  bred  and  multiplied  till  she'd  never  trust  me  or 
respect  me  again. 

ANTON 

And  you  think  that  on  those  lies  you  can  build  a 
home  of  happiness  and  love? 


THE  LIGHT  OF  THE  WORLD       137 

SIMON 
You  don't  understand,  Anton. 


ANTON 
(Gently) 
Yes,  I  think  I  do. 

MARNA 
(Triumphantly) 

This  much  your  lies  have  done;  they  have  placed 
your  happiness  in  my  hands. 

SIMON 
(Afraid) 
Marna! 

ANTON 

(With  forceful  dignity) 
And  his  happiness  is  safe  in  your  hands,  Marna! 

MARNA 

(She  looks  at  him) 
He  cared  a  lot  for  my  happiness  didn't  he? 

ANTON 

Revenge  is  a  poor  thing;  one  plans  for  it,  and  when 
it  comes  does  it  seem  worth  the  taking,  Marna? 

MARNA 

(Lowers  her  head) 
You  are  right. 

(Turns  to  ANTON  with  her  face  in  her  hands.) 


138       THE  LIGHT  OF  THE  WORLD 

SIMON 

(Goes  to  her) 

God  bless  you,  Mama.  And  I  will  make  amends 
— as  far  as  I  can.  (MARNA  turns  from  him.)  Anton, 
some  of  these  men  have  heard  that  Marna  is  staying 
in  your  house.  They  are  waiting  out  at  the  gate  to 
meet  her  and  send  her  away. 

ANTON 
Who  are  they? 

SIMON 

Martin  and  James  Mayre.  (Starts  up  on  to  rock.) 
I  will  go  to  them  now  and  try  to  persuade  them. 

ANTON 
They  want  to  send  her  away? 

MARNA 
And  they  are  right.    It  is  better  that  I  should  go. 

ANTON 

With  that  little  child  in  your  arms?  No,  no;  they 
couldn't  be  so  cruel,  so  senseless.  Let  me  speak  to 
them.  (Joining  SIMON)  They  have  children,  too,  and 
I  will  make  them  see. 

SIMON 
Yes,  they  will  listen  to  you. 

MARNA 

Perhaps  they  will  let  me  stay  somewhere  else — not 
in  your  home. 


THE  LIGHT  OF  THE  WORLD       139 

ANTON 

Why?  Has  that  little  one  made  you  a  leper?  No, 
Marna,  for  all  life  is  from  God.  Don't  be  afraid  and 
wait  for  me  here.  Come,  Simon. 

(He  goes  down  the  rock.  A  low  murmur  of 
the  crowd  is  heard  in  the  distance.  SIMON 
pauses  for  a  moment) 

SIMON 

(Looking  after  ANTON) 
If  I  could  only  be  like  him. 

MARNA 

(Nervously) 
What's  that?     Those  voices? 

it 
SIMON 

It  is  the  log-cutters  going  by  on  the  road  above. 
(He  goes  off  after  ANTON.  MARNA  is  alone. 
She  looks  about  in  despair.  The  murmur  of  the 
crowd  comes  nearer  and  nearer.  She  is  puz 
zled,  then  more  and  more  frightened.  She  starts 
up  after  SIMON.) 

MARNA 

Simon,  I  am  afraid.     Simon! 

(She  is  now  trembling  with  fear.    As  the  noise 
increases  she  gives  a  terrified  shriek.) 
Simon! 

(The  crowd  now  rush  on  led  by  JONAS,  who 
has  incited  them  against  MARNA.     M ARGOT, 


i4o       THE  LIGHT  OF  THE  WORLD 

JAMES,  PAUL,  RAYMOND  and  THE  ELDERS  are 
among  them.  They  are  all  saying  "  Where  is 
she?  "There  she  is."  "  Wanton,"  etc.  They 
surge  about  her.  MARNA  has  run  up  on  the 
rock  and  stands  cowering  in  terror,  with  her 
hands  behind  her,  clutching  the  cross  for  sup 
port.) 

JONAS 

(Raises  his  arms) 

Wait!  Wait!  (The  crowd  pauses.)  So,  it  is  not 
enough  that  she  defiles  the  home  of  the  Christus!  She 
must  needs  stand  by  the  sacred  cross  itself! 

OMNES 

Shame!    Shame!    Take  her  away  from  there. 

MARGOT 
She  has  brought  shame  on  our  village. 

JONAS 

(To  the  three  Elders) 
What  does  she  know  of  respect  for  holy  things? 

OMNES 
Yes;  yes. 

MARNA 

(Terror  stricken) 
What  do  you  want  with  me? 

JAMES 
We  want  to  be  rid  of  you.    That  is  all. 


THE  LIGHT  OF  THE  WORLD       141 

OMNES 
Yes!    Yes!    Drive  her  out! 


JONAS 

Listen.    It  is  no  use  for  you  to  make  denials.    We 
know  the  truth. 

OMNES 
Yes,  yes.    We  know  the  truth. 

MARNA 
I  have  made  no  denials. 

JONAS 

Ah,   you   admit  that  you   cared   nothing  for  your 
good  name,  nor  for  the  good  name  of  this  village? 

OMNES 

She  admits  it. 

JAMES 
(To  JONAS) 

Don't  waste  time  on  words.     Someone  fetch  her 
brat,  and  I'll  see  them  past  the  first  milestone. 

OMNES 
Yes.    Yes! 

MARNA 

(Runs  down  to  M ARGOT,  passionately) 
Don't  you  dare  to  touch  my  child !    I  will  kill  any 
one  who  lays  hands  on  him. 


142       THE  LIGHT  OF  THE  WORLD 

M ARGOT 

Oh,  so  he  is  too  fine  for  us  to  touch! 

MARNA 

Yes,  he  is!  (All  laugh  and  sneer  at  her.)  You 
come  to  revile  me  and  spit  at  me.  Why — because  I 
have  sinned?  No,  because  I  have  been  found  out! 
(All  turn  to  each  other,  muttering.)  Are  you  any 
better  than  me,  Margot  Haser?  You  sold  yourself  to 
an  old  man  not  for  love,  but  for  money! 

MARGOT 
I  married  him! 

MARNA 

Oh,  yes,  you  have  a  gold  ring  to  show.  And  you 
stood  by  him  in  church.  But  does  that  make  you  any 
cleaner  than  me? 

(Several  men  start  to  grab  her.    She  turns  on 
them  fiercely.) 

And  you  men !    You  have  never  lusted  after  a  woman, 
have  you? 

JONAS 
Now,  look  here — 

MARNA 

(Turns  on   him) 

And  you,  Jonas  Kurz.  Do  you  forget  the  day  you 
tried  to  seize  me  in  your  arms  and  press  hateful  kisses 
on  my  lips. 

(The  murmur  grows  to  a  babble  of  cries,  over 
whelming  her  speech.) 


THE  LIGHT  OF  THE  WORLD        143 

OMNES 
Drive  her  out!     Prostitute!    Wanton! 

( The y  rush  at  her.  She  turns  and  runs  up  onto 
the  rock.  ANTON  comes  on  above.  MARNA 
runs  to  him  and  falls  on  her  knees,  at  his  feet, 
clutching  his  smock.) 

ANTON 

(Towering  above  them  all) 
Stop !    Stop ! 

JAMES 
She  is  defiling  this  place! 

MARGOT 

(Crying  out  above  rising  murmurs) 
She  must  go!     Drive  her  out. 

OMNES 
Yes;  drive  her  out. 

(There  is  another  surge  forward.) 

ANTON 

Stop,  I  say!  (The  crowd  halts.)  Must  there  be 
twenty  of  you  to  handle  a  defenseless  girl?  (Silence.) 
Come,  let  one  man  step  out. 

OMNES 
One  man ! 

JAMES 
Whom  do  you  want? 


144       THE  LIGHT  OF  THE  WORLD 

OMNES 
Yes,  yes.    Whom  do  you  want? 

ANTON 
A  man  who  is  without  sin. 

OMNES 
Without  sin! 

ANTON 
I  say:  have  your  way,  drive  her  out,  stone  her! 

JONAS 
Stone  her? 

ANTON 

Yes;  but  let  him  who  is  without  sin  cast  the  first 
stone ! 

(There  is  a  sudden  awed  silence.) 

JAMES 
We  have  no  quarrel  with  you,  Anton  Rendel. 

OMNES 

No.    No. 

ANTON 

No?  And  why  not?  If  you  think  your  village  has 
been  defiled,  it  is  /  who  have  defiled  it.  When  Marna 
wanted  to  go  away,  I  stopped  her.  I  took  her  into 
my  house. 


THE  LIGHT  OF  THE  WORLD        145 

JONAS 
Yes,  and  for  good  reason ! 

FIRST  ELDER 
Good  reason? 

OMNES 
What's  that?  What  did  he  say? 

JONAS 
(To  crowd) 

Why  should  he  take  her  into  his  home  unless  she  had 
good  claim  to  be  there? 

OMNES 
Yes,  that's  so.    Why? 

JONAS 

Why  has  he  hidden  her  there  unless  he  was  afraid 
of  the  questions  we  might  ask? 

OMNES 
Yes,  that's  it. 

JONAS 

(To  MARNA) 

To  whose  house  did  you  go  when  you  first  came 
back?    To  your  old  home  on  the  hill?     No! 

JAMES 

(Realizing  what  JONAS  means) 
Are  you  mad,  Jonas? 


146       THE  LIGHT  OF  THE  WORLD 

JONAS 

No,  but  if  we  care  to  preserve  the  sacredness  of  our 
great  Passion  Play;  unless  we  would  see  the  village 
laughed  at  and  our  holy  living  a  byword,  ask  her  who 
is  the  father  of  her  child! 

(There  is  another  murmur  that  grows  to  con 
fused  noise;  the  PASTOR  enters  through  the 
crowd. ) . 

JAMES 
The  Pastor! 

OMNES 

It's  the  Pastor!    Who  told  him? 
(They  make  way  for  him.) 

PASTOR 
What  is  this?    What  is  going  on  here? 

ANTON 

(Coming  down  to  him  and  leading  MARNA  with  him) 
You  remember  Marna  Lynd,  Pastor? 

PASTOR 

Yes,  and  Stephen  here  has  been  telling  me  a  strange 
tale  about  her.  Is  it  true,  that  you  have  been  here  in 
the  village  a  month  past? 

MARNA 
Yes. 

JONAS 
In  the  house  of  the  Christus — with  her  child. 


THE  LIGHT  OF  THE  WORLD        147 

PASTOR 
So  I  hear.    But  I  can  scarcely  believe  it. 


ANTON 
It  is  true. 

PASTOR 

Had  you  forgotten  that  you  were  charged  to  keep 
your  house  free  from  all  carnal  and  worldly  associa 
tions  ? 

ANTON 
No,  and  I  have  tried  to  keep  it  so! 

PASTOR 

But  surely  you  knew  what  others  would  say  when 
they  heard  that  this  poor,  erring  girl  was  lodging  with 
you? 

ANTON 

(Without  bitterness) 

Perhaps  I  trusted  too  much  to  the  charity  and 
kindness  of  my  neighbors. 

PASTOR 

It  is  not  only  your  neighbors  that  must  be  thought 
of.  We  in  the  village  have  to  be  far  more  jealous  of 
our  good  name  than  other  villages  and  you,  on  whom 
the  greatest  trust  of  all  rests,  should  be  careful  that 
nothing  you  do  could  give  the  world  cause  to  speak 
lightly  of  him  who  plays  the  Christus. 


i48       THE  LIGHT  OF  THE  WORLD 

ANTON 

If  He  who  was  the  Christus  had  done  that,  there 
would  have  been  small  chance  for  sinners  and  out 
casts  to  be  healed  and  comforted. 


OMNES 

(Turn  to  each  other) 
What  does  he  mean? 

PASTOR 
Anton  Rendel,  you  are  presumptuous. 

ANTON 
I  am  sorry. 

MARNA 

Anton  took  me  in  because  there  was  nowhere  else  for 
me  to  go.  I  was  weak  and  ill  and  footsore.  I  had 
walked  with  my  child  in  my  arms  all  the  way  from  the 
hospital  of  the  nuns  at  Kroonwald. 

PASTOR 

Doesn't  your  mother's  sister  still  live  on  the  hill 
above? 

MARNA 

Yes;  a  mad  woman.     I  would  sooner  have  begged 
bread  along  the  streets  than  have  trusted  my  little  one 
to  the  mercy  of  her  crazy  moods. 
( SIMON  enters.) 


THE  LIGHT  OF  THE  WORLD       149 

SIMON 
Anton! 

(He  stops  short,  seeing  the  crowd  and  trying  to 
understand  what  is  happening.  MARTIN  is 
with  him.) 

MARNA 

Isn't  it  enough  that  I  am  ready  to  go  now?  Why 
must  you  stand  here  and  condemn  the  man  who  was 
kind  to  me? 

PASTOR 
You  are  ready  to  go  away? 


MARNA 
Yes! 

ANTON 

No,  no.  You  can't  drive  her  out  with  a  little  child 
at  her  breast. 

PASTOR 

No;  you  are  right.  (Turns  to  the  villagers.)  But 
some  other  lodging  must  be  found  for  her. 

JONAS 

Excuse  me,  Pastor,  but  this  is  not  the  first  thing. 
(PASTOR  turns  to  him.)  Ask  her — ask  her,  while  we 
are  all  here,  in  front  of  us,  who  is  the  father  of  her 
child. 

(SlMON  is  startled.) 


150       THE  LIGHT  OF  THE  WORLD 

OMNES 
Yes,  yes.  Who  is  the  father? 

ANTON 

No,  Pastor.  Don't  ask  for  that.  It  can  do  no  good 
— only  harm. 

PASTOR 

What  is  this?  Why  are  you  trying  to  shield  the 
guilty? 

JONAS 
He  has  good  reason ! 

PASTOR 

It  is  a  grave  thing,  Anton,  that  we  should  have  one 
in  our  midst,  one  on  whom  we  may  place  a  trust  only 
less  sacred  than  your  own,  who  is  so  grossly  unworthy. 

OMNES 
Yes,  yes.    Who  is  he?    Tell  us  his  name? 

ANTON 
Stop,  please.    Her  word  is  pledged. 

JONAS 
( Sneering) 
Who  to — to  you? 

ANTON 
Yes,  to  me.  » 


THE  LIGHT  OF  THE  WORLD        151 

MARNA 

(  To  ANTON,  through  the  chatter  of  the  crowd) 
I  must  tell,  Anton.     I  must!    Don't  you  see  what 
Jonas  Kurz  is  trying  to  make  them  think  ? 

PASTOR 

Anton.  (All  are  silent,  eager  to  catch  every  word.) 
You  know  who  this  man  is  ? 

ANTON 
Yes. 

PASTOR 
Then  I  command  you  to  tell  us. 

ANTON 
I  am  sorry,  Pastor,  but  I  must  refuse. 

PASTOR 

What!  (The  crowd  are  dumbfounded  by  his  re 
fusal.)  Do  you  want  me  to  believe  that  you  are  the 
man? 

MARNA 
(To  PASTOR) 

Wait!  Wait!  There  is  someone  else  who  knows; 
someone  who  is  not  pledged  to  silence.  Ask  him! 

PASTOR 
Who? 

MARNA 
Simon  Brock. 


152       THE  LIGHT  OF  THE  WORLD 

SIMON 
I? 

OMNES 

(There  is  a  babble  of  voices  as  they  all  look  at  him) 
Simon?     Simon  Brock? 

PASTOR 

Anton,  your  disobedience  displeases  me,  but  if  Simon 
will  speak  for  you — 

SIMON 

(Comes  down  quickly  between  MARNA  and  PASTOR) 
There — there  is  some  mistake.     I  cannot  tell  you. 

PASTOR 
You  mean  you  cannot,  or  you  will  not? 

SIMON 

(Looks  first  at  ANTON) 
I  mean 

RUTH 

(Calling  off) 
Simon ! 

SIMON 
(Quickly  resolving  RUTH  must  not  learn  the  truth,  as 

she  comes  on  and  stands  in  back) 
I  mean  she  is  mistaken,  I  don't  know. 

MARNA 
Simon! 


THE  LIGHT  OF  THE  WORLD       153 

JONAS 
He,  too,  is  trying  to  shield  his  friend. 

SIMON 

(Rushes  at  JONAS) 
No.    I  don't  know.    I  tell  you.    I  don't  know. 

ANTON 

Three  times!     And  the  poet  said  "your  friend's 
name  is  Simon,  too," 

RUTH 
Simon,  is  she  the  woman,  they  are  trying  to 

SIMON 

(Rushes  up  to  her) 
Come,  dear,  this  is  not  for  you. 

PASTOR 
No,  Simon;  take  your  wife  away! 

RUTH 

(Not  understanding) 
Why? 

SIMON 
The  Pastor  asks  it,  Ruth. 

RUTH 

But  what  is  the  matter? 

(He  takes  her  in  his  arms,  draws  his  coat  about 
her  as  though  to  protect  her  and  leads  her  off.) 


154       THE  LIGHT  OF  THE  WORLD 

PASTOR 

Anton  Rendel,  it  is  not  for  me  to  say  whether  or  not 
you  have  sheltered  in  your  house  your  own  sin.  But 
since  you  seem  willing  to  let  that  terrible  suspicion  rest 
upon  you,  I  tell  you  that  it  cannot  rest  on  the  man 
who  above  all  others  in  the  village,  must  be  untainted 
and  of  good  reputation. 

ANTON 
You  mean ? 

PASTOR 

(Controlling  his  emotion) 

I  mean  that  you  cannot  carry  that  cross  when  the 
people  gather  here  next  Sunday!  You  have  violated 
your  pledge  and  you  have  stubbornly  refused  to  bow 
to  my  authority.  Therefore  I  am  left  no  choice,  but  to 
take  from  you  the  role  of  the  Christus. 
(MARNA  gives  a  cry.) 

ANTON 
You  take  it  from  me? 

PASTOR 
Yes. 

OMNES 

That  is  right.    The  Pastor  is  right!  (etc.) 

MARNA 

(To  PASTOR,  through  the  chatter  of  the  crowd) 
No,  no !    I  will  tell  you.   You  mustn't  do  this  unjust 
thing! 


THE  LIGHT  OF  THE  WORLD       155 

ANTON 
(To  her) 
No,  Marna.    This  is  to  be. 

MARNA 

(To  ANTON) 
Just  to  save  another — and  such  another. 

PASTOR 

I  am  very  sorry.    This  is  a  terrible  thing,  but  I  could 
do  nothing  else. 

(PASTOR  goes  out;  the  others  start  to  follow 
him.  MARNA  breaks  from  ANTON  and  rushes 
after  them.) 

MARNA 
(To  M ARGOT) 
Fetch  the  Pastor  back! 

OMNES 

(As  they  crowd  through  the  arch  going  off) 
No!  No! 

MARNA 

( Turns  to  THE  ELDERS,  who  are  crossing  below 
her) 

Fetch  the  Pastor  back! 

(The  ELDERS  shake  their  head  and  motion  with 
their  hand — "  nof  no."  MARNA  turns  and  con 
fronts  JONAS.) 

Fetch  the  Pastor  back !    I  will  tell  him  who  it  is. 


156       THE  LIGHT  OF  THE  WORLD 

JONAS 

Yes,  you'd  lie  some  other's  good  name  away  to  save 
your  lover! 

MARGOT 

(Through  the  talk  of  crowd) 
You  defiled  his  home  so  that  his  home  defiles  our 
village ! 

JONAS 

Yes;  it  will  be  pointed  out  as  the  place  where  the 
Christus  lived  with  a  wanton. 

(ANTON  goes  up  on  the  rock,  and  leans  his 
head  against  the  cross.) 

JAMES 

You  can  stay  there  now,  woman,  as  a  good  lesson 
to  others — like  you! 

RAYMOND 

But  honest  people  will  spit  on  the  ground  as  they 
go  by! 

MARNA 

(Runs  to  MARGOT,  drops  on  her  knees  clutching  MAR- 
GOT  around  the  limbs) 

Call  the  Pastor.     I  will  tell  him!     I  will  tell  him 
everything ! 

(JAMES  grabs  her  arm  and  loosens  her  hold 
on  MARGOT,  while  RAYMOND  helps  him.  JAMES 
throws  MARNA  to  the  ground.  The  crowd  ap 
proves.) 


THE  LIGHT  OF  THE  WORLD       157 

MARGOT 

Who  will  take  the  word  of  a  harlot? 
QAMES,  RAYMOND,  PAUL  go  off.) 

JONAS 
Now  get  your  child  and  leave  us! 

MARGOT 
(Going  out) 

And  see  that  you  lose  no  time  in  clearing  the  village 
of  this  shame. 

JONAS 

Yes,  and  take  your  seducer  with  you. 
(He  goes  off  with  the  others.) 

MARNA 

(On  her  knees  calling  after  them) 
Listen!     Listen!     Well,   go   then.     If  you  won't 
listen.    Go!    Poor  simple  sheep  that  you  are! 

(The  noise  from  the  crowd  continues  in  the 
distance.) 

ANTON 

(Raises  his  clasped  hands  to  the  cross) 
Was  that  man  right  who  said :  Christianity  died  upon 
the  Cross? 

(He  leans  his  head  against  the  cross — his  arms 
about  it.  MARNA  rises  slowly  and  staggers 
over  to  the  tree,  sobbing  hysterically.  She  drops 
onto  rock  at  foot  of  tree.) 


158       THE  LIGHT  OF  THE  WORLD 

MARNA 

(Her  head  bowed  between  her  clinched  hands) 
Curse  your  self-righteousness!  Your  intolerance! 
Your  cruel  goodness!  (ANTON  raises  his  head  and 
turns  to  her.)  Pharisees!  (She  throws  up  her  head.) 
Talk  of  sacred  ground.  (Shaking  her  clinched  hand 
after  them.)  Curse  your  holy  village! 

ANTON 
(Crying  out) 
No,  no;  Marna! 

MARNA 

They  say  they  are  the  keepers  of  the  spirit  of 
Christ.  But  they  are  the  ones  that  crucified  Him! 
If  Christ  should  walk  among  them  to-day,  they  would 
revile  Him,  spit  at  Him  and  bar  Him  from  their 
homes ! 

ANTON 

(Standing  at  the  foot  of  the  cross  with  his  arms  out 
stretched) 

Don't  curse  them,  Marna!  Forgive  them!  For  they 
know  not  what  they  do! 


Curtain. 


THE  THIRD  ACT 

THE  HOME  OF  ANTON  RENDEL 

A  few  days  later. 


THE   THIRD  ACT 

~W\ACK  in  ANTON  RENDEI/S  house.  But  the 
f^\  joy  seems  somehow  to  have  left  it.  And  this  is 
hard  to  account  for  as  it  is  a  fine  sunshiny 
morning  in  June.  Most  of  the  carvings  have  disap 
peared — perhaps  that  is  the  reason. 

The  room  is  empty.  NATHAN  enters  from  kitchen 
carrying  a  hand  carved  wooden  cradle,  which  he 
places  near  the  fireplace.  He  then  takes  a  bellows  from 
fireplace,  where  they  are  hanging,  and  stoops  over  the 
fire  logs,  gives  them  a  few  puffs— till  the  fire  blazes  up. 

ANTON'S  mother  comes  down  the  stairs  carrying  the 
pillow  and  comforter  for  the  cradle.  She  pauses  for 
a  moment  to  look  through  the  window — for  she  is  ex 
pecting  ANTON. 

NATHAN 

I'm  thinking  that  there's  small  reason  to  be  lighting 
the  fire  to-day.  There's  a  warmth  in  the  air  that  I 
haven't  felt  this  Spring. 

MOTHER 

(Looking  out  window) 
It  seems  so  often  the  day  the  Sacred  Play  is  to  start. 

NATHAN 

Do  you  see  any  sign  of  Anton  down  the  valley  road? 
161 


i6a       THE  LIGHT  OF  THE  WORLD 

MOTHER 

No,  there's  not  a  soul  to  be  seen;  but  maybe  he 
might  come  back  over  the  log  road  from  Kroonwald. 

NATHAN 

And  why  should  he  choose  a  hard  way  like  that  with 
the  pack  of  carvings  to  carry? 

MOTHER 
There'd  be  less  chance  of  meeting  village  folk. 

NATHAN 

Anton  wouldn't  take  a  step  out  of  the  way  for  that. 
His  gaze  is  straight  and  fearless  as  though  they  had 
never  tried  to  shame  him  with  their  black  looks  and 
their  heads  turned  away  to  his  "  good  morning." 

MOTHER 

Yes,  he  doesn't  let  any  see  ft.  But  think  how  he 
must  feel  never  to  get  any  answer  to  his  greeting — him 
that  everybody  used  to  love. 

NATHAN 

Why  should  he  care  for  folk  that  aren't  worthy  to 
tie  his  boot-string? 

MOTHER 
They're  trying  to  drive  us  ou{  of  this  village. 

NATHAN 
Yes. 


THE  LIGHT  OF  THE  WORLD        163 

MOTHER 

(Making  bed  in  the  cradle) 

And  Anton  would  have  gone  only  he  knows  this 
place  has  been  my  home  so  long.  It's  forty  years  ago, 
Nathan,  since  I  came  up  that  path  a  young  bride,  and 
all  the  folk  gathered  in  the  road  crying  out  a  welcome, 
and  the  little  children  throwing  flowers  for  us  to  tread 
on. 

NATHAN 

And  now  it's  those  that  were  little  children  then 
that  threaten  to  burn  the  house  if  they  aren't  rid  of  us. 

MOTHER 
(Alarmed) 
They  said  that? 

NATHAN 

Yes ;  but  don't  fear.  They  won't  go  so  far.  I  hear 
the  Pastor  was  very  angry  when  'twas  told  to  him. 

MOTHER 

I  don't  know.  There's  no  saying  what  men  may  do 
in  the  name  of  religion. 

NATHAN 

Don't  I  know?  Don't  I  know?  I  that  have  seen 
my  father  hauled  into  the  street  by  his  beard  and 
frightened  women  fleeing  before  men  with  blood 
on  their  hands  and  a  white  cross  pinned  on  their 
sleeves ! 


164       THE  LIGHT  OF  THE  WORLD 

MOTHER 
(After  a  pause) 
I  wonder  if  I  could  learn  to  live  in  some  new  place  ? 

NATHAN 

The  trouble  all  came  with  Mama's  coming.  If 
she  should  go  I  believe  they  would  soon  forget  their 
anger  against  Anton. 

(MARNA  enters  coming  down  the  stairs  carry 
ing  her  child.) 

MOTHER 
Hush! 

MARNA 
Have  you  news  of  Anton? 

NATHAN 
(A  little  forced) 

Where  should  we  have  news  except  by  his  coming? 
None  will  bear  a  message  to  us  nor  tell  us  if  they 
saw  him  in  the  road. 

MOTHER 

Perhaps  the  strangers  at  the  Kroonwald  have  bought 
only  a  few  carvings  and  he  pushed  on  through  the 
night  to  Mendorf. 

(Goes  to  MARNA,  as  she  comes  down  the  stairs, 
to  help  her  with  the  baby.) 

NATHAN 
I  wish  he  had  let  me  go  instead. 


Anton  as  The  Christus. 


Act  3. 


THE  LIGHT  OF  THE  WORLD       165 

MARNA 
I  think  he  wanted  to  be  alone  for  a  while. 

MOTHER 

Yes.  It  will  ease  him  to  go  walking  through  the 
clean-smelling  meadowland  and  hearing  the  birds  call 
ing  in  the  willow  groves  along  the  river. 

MARNA 
And  no  doubt  he'd  wish  to  be  away  to-day. 

NATHAN 
Why? 

MARNA 

Why?  'Tis  the  start  of  the  Passion  Play,  isn't  it? 
And  there'll  be  folk  going  by  in  their  robes  and 
singing  and  the  procession  of  the  children. 

MOTHER 

Yes.  When  he  would  hear  the  bell  ringing  to  call 
them  to  the  rehearsing  his  hand  would  tremble  so  that 
he  could  scarce  hold  the  knife. 

(She  goes  out  into  the  kitchen.  MARNA  starts 
to  put  the  baby  in  the  carved  wooden  cradle 
which  stands  in  front  of  fireplace.) 

NATHAN 
How  is  master  baby  to-day? 

MARNA 

As  happy  as  if  his  coming  into  the  world  had  brought 
nothing  but  joy. 

(Kisses  it,  then  puts  it  in  the  cradle.) 


166       THE  LIGHT  OF  THE  WORLD 

NATHAN 

And  so  it  should  I  say.  (Peers  into  cradle.)  Heyho, 
baby.  Oh,  don't  pucker  up  your  forehead  at  old 
Nathan.  Surely  he  couldn't  scowl  any  worse  if  he 
were  looking  at  Jonas  Kurz. 

MARNA 

Sh-hush,  baby. 

(She  rocks  cradle  back  and  forth.) 

NATHAN 

(Bending  over  the  cradle) 

Are  you  sure  there  isn't  a  pin  sticking  into  its 
shoulder  ? 

MARNA 

Am  I  sure?  What  sort  of  a  mother  do  you 
think  I  am  ?  Sh-sh — That's  right.  Mother  won't  let 
any  big  man  with  a  funny  beard  frighten  her  lamb 
kin. 

NATHAN 
Funny  beard? 

MARNA 
(  To  baby  ) 

Sh-sh.  That's  right.  Go  to  sleep.  (Glancing  at 
the  kitchen  door.)  Nathan? 

NATHAN 
Yes? 


THE  LIGHT  OF  THE  WORLD       167 

MARNA 

As  I  came  down  the  stairs  just  now  I  could  not  help 
hearing  what  you  said. 

NATHAN 
Eh? 

MARNA 
That  if  I  should  go  away  they  would  soon  forget. 

NATHAN 
/  said  that? 

MARNA 
Yes,  don't  try  to  deny  it. 

NATHAN 

Neither  Anton  nor  his  mother  would  let  you  go 
away.  You  know  that. 

MARNA 

No,  perhaps  not.  But  if  I  were  to  go  without  their 
knowing. 

NATHAN 

And  how  would  you  be  going  with  that  baby  to  carry 
in  your  arms  and  you  only  just  getting  back  your 
strength  ? 

MARNA 

Perhaps  I  could  get  someone  to  give  me  a  lift  as  far 
as  Mendorf. 


168       THE  LIGHT  OF  THE  WORLD 

NATHAN 

I  know  one  who  has  a  good  cart  who  might  lend  it 
to  me. 

MARNA 
What?    Someone  in  this  village? 

NATHAN 
Yes. 

MARNA 

If  there's  any  would  be  willing  themselves,  they'd 
be  afraid  of  their  neighbors. 

NATHAN    • 

The  man  I'm  thinking  of  could  scarce  refuse  that 
much,  poor  friend  though  he's  been  this  week  past. 

MARNA 
You  don't  mean  Simon  Brock? 

NATHAN 

I  do  indeed.  Simon  Brock  was  always  Anton's 
greatest  friend.  Didn't  they  take  in  his  wife  and  keep 
her  here  like  one  of  their  own  all  the  time  they  were 
waiting  for  the  wedding? 

MARNA 
You  mustn't  go  to  him,  Nathan. 

NATHAN 
Why  not? 


THE  LIGHT  OF  THE  WORLD       169 

MARNA 

Go  away  in  that  cart— the  one  he  drove  his  wife  in 
on  their  wedding  journey? 

NATHAN 
That's  made  it  no  worse,  has  it? 

MARNA 
Oh,  I  couldn't.    I  couldn't! 

NATHAN 
What's  the  matter  with  you,  Marna? 

MARNA 

(Turns  to  him) 
Think — think!     There  must  be  someone  else. 

NATHAN 

No  one  that  I  know.  Well,  perhaps  when  Anton 
gets  here  we'll  all  be  leaving. 

MARNA 
No,  no.    That  mustn't  be. 

NATHAN 
It  may  have  to  be. 

MARNA 

But  Anton's  mother!  Think  how  she  would  feel 
having  to  leave  her  home,  to  go  out  among  strangers 
and  suffer  hardships. 


i;o       THE  LIGHT  OF  THE  WORLD 

NATHAN 

Listen,  Marna.  I  didn't  tell  her  just  now  and  I 
didn't  mean  to  tell  you.  When  I  went  to  the  village 
this  morning  to  buy  food,  they  told  me  at  the  shop 
there  wasn't  any. 

MARNA 

Not  any  food? 

NATHAN 
Not,  they  said,  for — for  you. 

MARNA 
You  mean  they  said — "  not  for  a  harlot" 

NATHAN 

That  is  why  I  said  if  you  were  to  go  they  would 
let  Anton  and  his  mother  stay  in  peace. 

MARNA 

Go,  Nathan,  go  to  Simon  Brock.  And  ask  him  for 
his  cart.  And  if  he  doesn't  want  to  give  it  to  you,  tell 
him  why  you  want  it.  Say  it  is  to  take  the  harlot  and 
her  child  out  of  the  village!  He  will  give  it  to  you 
then  fast  enough.  I  promise  you. 

NATHAN 
Marna! 

MARNA 
(Bitterly) 
Only  tell  him  to  throw  new  straw  on  it! 


THE  LIGHT  OF  THE  WORLD       171 

NATHAN 
I  don't  understand. 

MARNA 

He  will  understand.     He  will  not  want  me  to  lie 
in  the  sweet  grass  where  she  rested  in  his  arms. 

NATHAN 

(Looks  at  MARNA,  then  at  the  cradle  as  though  sud 
denly  guessing  the  secret) 

Marna — tell  me ? 

(MOTHER  comes  to  the  kitchen  doorway.) 

MARNA 
I  will  tell  you  nothing.    Go — go! 

MOTHER 
What  is  it,  Marna  ?    Is  anything  the  matter  ? 

MARNA 

No.    It  is  nothing.    I  want  some  fresh  bedding  for 
my  baby,  that  is  all. 

MOTHER 

But  Nathan  put  some  balsam  in  the  cradle  only 
yesterday. 

NATHAN 

(As  though  bewildered  by  his  discovery) 
Yes,— yes.    I  know  where  there  is  some  better,  with 
a  still  sweeter  smell. 
(He  goes  out.) 


172       THE  LIGHT  OF  THE  WORLD 

MOTHER 
Were  you  and  Nathan  quarreling? 

MARNA 

(Bends  over  the  baby) 
No,  of  course  not. 

MOTHER 

I  thought  I  heard  your  voices  raised.  But  my  ears 
are  not  what  they  were.  I'm  getting  to  be  an  old 
woman,  Marna. 

MARNA 
(Turns  to  her,  mastering  herself  with  an  effort  and 

smiling) 

Oh,  you're  not  really  old.  You'll  hear  many  pleasant 
sounds  yet,  Aunt  Mary.  The  birds  nesting  under  the 
eaves  and  the  bees  in  your  garden  and  children  laughing 
outside  and  Anton  singing  as  he  bends  over  his  work. 

MOTHER 

(Shaking  her  head) 
He  doesn't  sing  any  more,  Marna. 

MARNA 
But  he  will:  never  doubt  it. 

MOTHER 

(Taking  her  hand) 

Will  those  good  times  ever  come  back  to  us 
again  ? 


THE  LIGHT  OF  THE  WORLD       173 

MARNA 

(Comforting  her) 

Of  course;  of  course,  they  will.  (She  goes  to  the 
cradle.)  When  the  curse  that  has  lain  on  you  is  lifted. 

MOTHER 
We  were  so  happy.    I  didn't  know  how  happy 

MARNA 

Look  at  him,  Aunt  Mary.  You  wouldn't  think  that 
anything  so  beautiful  could  bring  so  much  wrong  and 
hatred  and  bitterness  into  the  world,  would  you? 

MOTHER 
The  ways  of  the  Lord  are  hard  to  understand. 

MARNA 

No,  Aunt  Mary,  I  don't  believe  that.  It's  the  ways 
of  man  that  are  dark  and  cruel.  The  ways  of  God 
are  simple  and  straight  and  kind. 

(ANTON  enters,  carrying  a  bag  slung  over  his 
shoulder.  His  boots  are  muddy  from  the  roads.) 

ANTON 
(Cheerfully) 
Well,  little  mother,  here  is  the  wanderer  at  last. 

MOTHER 
Anton!    My  boy! 

(She  runs  to   him  and  puts  her  arms  about 
him.) 


174       THE  LIGHT  OF  THE  WORLD 

ANTON 

I  hope  you  have  plenty  of  food  in  the  house.  All  the 
long  way  back  from  Kroonwald  I've  been  kept  up  by  a 
beautiful  vision.  My  mother  standing  over  a  pan  of 
her  famous  apple-cakes,  all  warm  and  brown,  smelling 
of  cinnamon. 

MOTHER 

Oh,  what  a  shame !  I  sent  Nathan  to  get  some  fresh 
meal  but  he  said  it  hadn't  come  from  the  mill  yet. 

ANTON 

(Knowing  she  is  fibbing) 
Well,  it  won't  hurt  me  to  wait  a  bit. 

MOTHER 

No,  no.  I've  got  some  cakes  left  from  yesterday,  if 
you  don't  mind  that. 

ANTON 

Mind  it?  They'll  taste  better  to  me  than  the  first 
fall  of  Manna  did  to  the  Children  of  Israel.  (Takes 
the  bag  off.)  And  how  is  the  other  little  mother? 

MARNA 

I  just  said  to  Nathan  that  at  last  I  am  feeling  as 
strong  as  I  ever  was. 

ANTON 

(Looking  at  her) 

Not  quite  that  yet.  You  see  I've  got  a  rosy  cheek 
in  that  cradle  to  match  yours  by. 


THE  LIGHT  OF  THE  WORLD        175 

MOTHER 
(Anxiously) 
The  carvings,  Anton  ?    Did  you  sell  them  ? 

ANTON 

Did  I?    Never  say  again  that  I  am  not  a  business 
man. 

(Draws  out  a  little  chamois  bag  from  his  pocket, 
jingles  it  and  gives  it  to  her.) 

MOTHER 
Oh,  splendid! 

ANTON 

Nathan  will  be  coming  to  me  now  for  lessons  in 
bargaining. 

MOTHER 
Gold  pieces,  Marna! 

MARNA 
I'm  so  glad! 

ANTON 

Yes.    I  even  sold  the  King  Solomon.    I  was  almost 
ashamed  to  show  them  that. 

MOTHER 
Why  the  Solomon  was  wonderful,  wasn't  it,  Marna? 

ANTON 
Oh,  there's  a  mother  speaking.     Even  Nathan  ad- 


176       THE  LIGHT  OF  THE  WORLD 

mitted  I  hadn't  done  Solomon  justice.  But  Solomon 
has  gone  and  I  really  believe  I  might  have  sold  a  carv 
ing  of  each  of  his  wives — if  I  could  have  found  wood 
enough  to  do  for  the  whole  family. 

MARNA 

(Hopefully,  that  she  will  be  able  to  get  work  there) 
There  are  a  lot  of  visitors  at  Kroonwald  then  ? 

ANTON 
Yes.    But  I  sold  nearly  all  to  one  man. 

MOTHER 
One  man? 

ANTON 

Yes.  Do  you  remember  that  poet  who  came  here 
with  his  two  friends  the  day  that  I — (Correcting  him 
self)  the  day  that  you  came  to  us,  Marna? 

MOTHER 
The  one  to  whom  you  gave  the  Magdalen? 

ANTON 

Yes.  I  will  not  shame  you  by  reminding  you  how 
you  scolded  me.  Cast  your  bread  upon  the  waters, 
mother  dear,  and  it  will  return  to  you  after  many 
days. 

MOTHER 

I'll  get  you  those  cakes  and  some  coffee. 
(Goes  to  kitchen  door.) 


THE  LIGHT  OF  THE  WORLD        177 

ANTON 
Can't  I  help  you? 

MOTHER 

What  do  I  want  with  a  man  messing  in  my  kitchen  ? 
Sit  down  there  and  rest  yourself. 
(She  goes  out  into  kitchen.) 

MARNA 

Anton,  you  have  been  very  good  to  me.  If  there  was 
only  some  way  that  I  could  repay  you. 

ANTON 

Happiness  is  the  coin  in  which  we  want  all  our 
deeds  repaid.  Only  before  we  learn  life's  lesson  we 
think  that  the  happiness  must  be  our  own.  You  can 
make  up  to  me  for  everything  by  trying  to  be  happy. 

MARNA 
And  good. 

ANTON 

Happiness  brings  goodness,  Marna,  just  as  much  as 
goodness  brings  happiness. 

MARNA 

I  shall  try  and  remember  that.  You  have  given  me 
many  thoughts  to  carry  away  with  me,  thoughts  that 
will  help  me  even  in  the  darkest  hours.  But  I  must  go 
upstairs  now.  I  want  to  put  something  in  order. 

(She  starts  up  the  stairs.    ANTON  wearily  sinks 


178       THE  LIGHT  OF  THE  WORLD 

into  chair.  The  boom  of  a  distant  cannon  is 
heard.  -Far  in  the  distance  the  choir  is  heard 
for  a  little  while.) 

ANTON 

That's  the  first  gun  calling  the  players  to  prayer. 
The  performance  will  begin  in  one  hour. 

MARNA 
Yes,   I  know.    .    .    . 

(She  looks  at  him  with  compassionate  under- 
standing,  then  she  goes  quietly  up  the  stairs. 
ANTON,  when  he  realizes  he  is  alone  relaxes; 
his  head  slowly  drops  into  his  hands  with  his 
elbows  resting  on  his  knees.  There  is  a  brief 
pause.  Then  AGNES  comes  in  the  door.  She 
is  wearing  the  dress  for  the  scene  of  Christ's 
entrance  into  Jerusalem.) 

AGNES 

{Looking  in  over  bottom  half  of  the  door) 
Anton.     (Rattles  the  hasp.)     Anton. 

ANTON 
Agnes! 

AGNES 

(Enters  and  runs  to  him) 

They  told  me  I  mustn't  go  to  see  you  any 
more,  Anton,  but  I  just  had  to  come  and  show  you 
my  dress. 


THE  LIGHT  OF  THE  WORLD       179 

ANTON 
Oh,  but  it's  lovely,  Agnes. 

AGNES 

(Lifting  up  the  dress  so  as  to  show  it) 
The  petticoat  is  almost  the  nicest  part.     I  wish  it 
showed  more. 

ANTON 
Couldn't  you  wear  the  petticoat  outside  the  dress? 

AGNES 

Of  course  not.  (Laughs.)  Aren't  men  funny? 
But,  oh,  I'm  so  proud  to  think  I'm  going  to  be  in  the 
Passion  Pky,  Anton. 

ANTON 
(Goes  to  her) 
Of  course,  you  should  be,  dear. 

AGNES 
Did  you  want  to  play  in  it,  Anton? 

ANTON 
I  wanted  to  play  in  it  very  very  much,  Agnes. 

AGNES 
Wouldn't  they  let  you? 

ANTON 

No. 


i8o       THE  LIGHT  OF  THE  WORLD 

AGNES 
I  hate  them  for  not  letting  you. 

ANTON 
You  mustn't  say  that. 

AGNES 

Yes,  I  do.  I  prayed  to  God  last  night  to  send  an 
awful  punishment  to  all  people  that  were  unkind  to 
you,  Anton. 

ANTON 
Oh,  you  shouldn't  have  done  that. 

AGNES 

Well,  I've  done  it  now,  so  it'll  have  to  stand.  I'm 
not  going  to  tell  God  I've  changed  my  mind. 

TIMMY 
(Comes  inside  and  looks  back  to  see  that  no  one  is 

looking) 
Agnes — Agnes. 

AGNES 
Yes,  Timmy. 

TIMMY 
Agnes,  you  know  you  were  told  not  to  come  here. 

ANTON 

Yes,  dear,  you'd  better  go.  Your  mother  will  be 
cross. 


THE  LIGHT  OF  THE  WORLD       181 

TlMMY 

Anton. 

ANTON 
Yes,  Timmy? 

TlMMY 

Have  you  got  any  more  dragons? 

ANTON 

(He  gets  two  small  wooden  elephants  from  the  shelf) 
No.    But  there  are  a  pair  of  elephants  I  was  making 
for  your  Noah's  ark. 

( TIMMY  looks  about  again  afraid  of  being  seen 
in  ANTON'S  home  but  finally  comes  In,  and 
takes  his  toy.  AGNES  takes  hers  and  tries  to 
make  It  walk.) 

TIMMY 

Oh,  thank  you,  Anton.  I  can't  see  why  everybody  is 
so  angry  at  you,  Anton.  I  guess  they  don't  know  what 
lovely  animals  you  can  make. 

(Runs  to  door,  looks  out  carefully  to  see  If 
anyone  Is  looking.  Then  he  runs  off.) 

AGNES 

Good-bye,  Anton.  Won't  you  see  me  in  my  scene 
this  afternoon? 

ANTON 
I  am  afraid  not,  dear. 


1 82       THE  LIGHT  OF  THE  WORLD 

RUTH 

(Standing  in  the  doorway) 
Anton. 

ANTON 

(Surprised  and  glad  to  see  her) 
Why,  Ruth! 

AGNES 

(As  RUTH  comes  in) 

Oh,  I'm  so  glad  you've  come  to  see  Anton.  I  can't 
stay  any  longer  and  I  just  hated  to  think  of  him  sitting 
here  all  alone. 

ANTON 
You  were  very  sweet  to  come,  both  of  you. 

AGNES 

I'm  going  to  pray  to  God  to  arrange  it  so  you  can 
be  in  the  Passion  Play  after  all,  Anton.    And  I  think 
maybe  Hell  do  it,  because  I  haven't  asked  Him  any 
thing  for  a  long  time. 
(She  runs  out.) 

RUTH 
Oh,  Anton,  but  I  wish  it  could  be  so. 

ANTON 
That  doesn't  matter  now.  , ?f , 

RUTH 

What  have  you  thought  of  me,  Anton,  not  having 
come  near  you  all  this  time. 


THE  LIGHT  OF  THE  WORLD        183 

ANTON 
I  am  sure  you  had  some  good  reason. 

RUTH 
Yes,  I  had.    Simon  has  been  ill. 

ANTON 
I  am  sorry. 

RUTH 

He  took  it  very  deeply  to  heart  that  you,  his  best 
friend,  should  have  been  accused  and  humiliated.  He 
was  to  be  in  the  chorus  of  the  play,  as  you  know;  but 
he  has  given  it  up.  He  sent  back  his  robe. 

ANTON 
(Turns  to  her) 

His  robe?  I  had  forgotten  my  robe.  It  is  still 
lying  in  there.  (Glances  toward  kitchen.)  The  gar 
ment  woven  without  a  seam.  Oh,  well!  it  doesn't 
matter.  No  doubt  whoever  plays  the  role  now  would 
refuse  to  wear  my  robe;  it  has  been  soiled  by  my  touch. 

RUTH 
Anton,  please 

MOTHER 

(Enters  from  kitchen) 
Your  breakfast  is  ready,  Anton! 

RUTH 

(Going  to  her)  ( 

Aunt  Mary! 


1 84       THE  LIGHT  OF  THE  WORLD 

MOTHER 
Ruth! 

RUTH 
I'm  so  glad  to  see  you! 

MOTHER 

My  little  girl!  Oh,  you  don't  know  how  it  warms 
my  heart  to  hold  you  here.  Nothing  hurt  me  so  much 
as  to  think  that  you  would  join  with  the  others  in 
shunning  us. 

RUTH 

I  didn't  know  how  they  had  all  been  treating  you 
till  I  went  to  the  village  to-day  to  do  some  marketing. 
Then  I  came  straight  on  here. 

ANTON 
Then  Simon  does  not  know  that  you  have  come? 

RUTH 

No. 

MOTHER 
Come  in,  Anton; — the  coffee  is  all  made. 

ANTON 

And  how  does  our  little  valley  flower  like  being  a 
house-wife  ? 

RUTH 

It  would  be  splendid  if — if  only  Simon  and  I  could 
know  that  you  are  happy. 


THE  LIGHT  OF  THE  WORLD       185 

ANTON 

But  we  are  happy.  Can't  you  see  we  are?  Why 
look  at  the  mother  I've  got:  the  best  mother  and  the 
best  cook  in  the  whole  country.  To  be  sure  she's  a  wee 

bit  daft 

(As  they  go  off  into  kitchen  MARNA  appears  on 
the  landing  carrying  a  small  bundle  tied  in  an 
old  shawl.  She  shrinks  back  as  she  sees  them 
and  waits  till  they  have  gone  off.  Then  she 
comes  quickly  down  as  NATHAN  enters  from 
outside.) 

MARNA 
I  saw  you  from  the  window.    I  have  been  watching. 

NATHAN 
Well,  I  got  it. 

MARNA 
Be  careful.    Anton  has  returned. 

NATHAN 
He  has? 

MARNA 

I  will  close  the  door  so  that  they  shan't  hear  me. 
(Shuts  door  of  passage  leading  to  kitchen.)  Simon 
Brock's  wife  is  in  there,  too. 

NATHAN 
And  Simon  himself  is  here  with  the  cart. 


1 86       THE  LIGHT  OF  THE  WORLD 

MARNA 
Simon  himself! 

NATHAN 

Yes.  He  is  waiting  down  below  the  road-bend  be 
hind  the  trees. 

MARNA 
(JONATHAN) 
But  he  will  not  go  with  us? 

NATHAN 
No,  no;  of  course  not.    Are  you  ready? 

MARNA 
Yes. 

NATHAN 

( Takes  the  bundle) 

Give  me  that  and  you  carry  the  little  fellow.  If 
I  took  him  he'd  cry  and  you'd  say  it  was  the  way  I 
held  him. 

MARNA 
I  am  not  going  to  take  the  baby,  Nathan. 

NATHAN 
Not  going  to  take  him? 

MARNA 

No.  I  have  thought  it  all  out.  For  his  sake,  it  is 
better  so.  You  see,  I  may  have  trouble  getting  work, 


THE  LIGHT  OF  THE  WORLD       187 

and  if  I  should  have  to  see  him  suffer,  I  couldn't  bear 
it,  Nathan. 

NATHAN 
But  Marna,  to  leave  your  child 

MARNA 

^  I  know.  It  is  hard,  very  hard,  but  you'll  be  kind  to 
him,  won't  you  ?  He's  so  good,  hardly  any  trouble  at 
all.  He  only  has  to  be  fed  once  in  the  night  now; 
only  be  careful  the  milk  is  warmed.  But  there;  what 
am  I  saying?  Anton's  mother  knows  well  enough. 
I  didn't  think  to  wean  him  for  many  months;  but  he's 
strong,  thank  God,  and  soon  enough  he'll  forget 
me. 

NATHAN 

And  when  you  have  work  and  are  settled  you'll 
send  for  me  to  bring  him  to  you? 

MARNA 

(Kneeling  by  cradle) 

No,  I  shan't,  Nathan.  I'm  saying  good-bye  to  him 
forever.  It's  better  so,  for  he'll  grow  up  with  good 
people.  And  he  won't  have  to  see  folk  turn  their 
heads  away  as  his  mother  passes,  and  if  they're  kind  per 
haps  he'll  never  know  that  I  was  a-^— a — — 

NATHAN 

Marna!  Don't  say  it!  You  know  you're  not  that, 
whatever  they  say! 


1 88       THE  LIGHT  OF  THE  WORLD 

MARNA 
(Unheeding) 

Good-bye,  my  baby.  This  way  you  won't  have  to  be 
ashamed.  And  your  mother  is  going  to  try  to  live, 
if  she  can  live,  so  that  you  wouldn't  be  ashamed  even  if 
you  knew  who  she  was  and  where — (She  bends  forward 
and  kisses  the  baby)  God  bless  you.  The  sight  of 
you  will  be  in  my  eyes  forever. 

(She  again  drops  forward  over  the  cradle.  As 
NATHAN  touches  her  on  the  arm  "  to  hurry  " 
he  looks  up  and  sees  SlMON  who  has  entered. 
NATHAN  gaze s  at  SIMON  and  then  at  MARNA. 
SIMON  sees  her  by  the  cradle.  He  goes  to  her 
slowly. ) 

SIMON 

(Softlr) 

Mama! 

MARNA 

(She  rises  slowly,  thinking  it  is  NATHAN) 
I  am  ready 

SIMON 
Marna.    Let  me  see  him — the  boy. 

MARNA 
Why  ?    He  is  nothing  to  you. 

SIMON 
Yes,  he  is.    He  must  be.    I  must  help  you. 


THE  LIGHT  OF  THE  WORLD       189 

MARNA 

I  don't  need  your  help  nor  does  he. 

(NATHAN  starts  quietly  towards  the  door.) 

SIMON 

But  it  is  right  and  it's  the  only  way  for  me  to  find 
peace. 

MARNA 

You  will  never  find  peace  while  others  suffer  in 
your  stead.  (NATHAN  shakes  his  head  sadly  and  goes 
out.)  Simon,  I  am  going  to  go  away  and  leave  my 
boy  forever. 

SIMON 
To  leave  him? 

MARNA 

Yes.  Do  you  know  why?  Because  I  don't  want 
him  to  have  to  be  ashamed  of  his  mother! 

SIMON 
Marna! 

MARNA 

(Eyeing  him  steadfastly) 

But  in  all  humbleness  I  pray  God  he  may  be  spared 
the  even  greater  shame  of  knowing  who  is  his  father. 

SIMON 

Have  you  no  pity?  Can't  you  see  that  I  am  in  the 
dust  at  your  feet? 


I9o       THE  LIGHT  OF  THE  WORLD 

MARNA 

And  where  should  you  be?  No.  I  will  tell  you. 
Not  at  my  feet,  but  at  his!  At  the  feet  of  Anton 
Rendel! 

SIMON 

Marna.  All  you  can  say  is  nothing,  compared  to 
what  I  have  already  said  to  myself.  But  even  now 
I  daren't  speak. 

(RuTH  enters  from  kitchen  unobserved.) 
Wait.    I  am  going  to  make  amends.    I  am  leaving,  too. 
I  have  planned  to  take  my  wife  far  away,  and  then 
I  will  write.     I  will  tell  them  all  the  truth — every 
thing;  but  not  her.    I  can't  tell  her. 

(He  looks  up  and  seeing  MARNA'S  fixed  gaze 

on  RUTH;  he  turns  and  sees  her  standing  there 

dumbfounded.) 

MARNA 

(  Comprehending) 
I  will  leave  you. 

RUTH 

No.  Why  should  you,  Marna?  It  is  I  who  am  the 
real  intruder. 

SIMON 
Ruth! 

RUTH 

I  see  that  at  last.  I  must  have  been  a  fool  not  to 
see  it  before;  a  fool  blinded  by  love. 


THE  LIGHT  OF  THE  WORLD       191 

MARNA 
(Gently) 

Then  perhaps  you  can  understand  how  his  love 
could  blind  him,  too. 

RUTH 

(To  MARNA) 

If  it's  love  for  me  that  made  him  forget  decency, 
loyalty  and  truth  I  wish  that  I  might  never  have 
had  the  power  of  waking  such  a  love  as  his. 


SIMON 

(Moves  toward  her) 
Ruth!     My  wife! 

(ANTON  enters  grasping  the  situation.) 

RUTH 

Your  wife !  That  is  your  wife  standing  there  by  the 
cradle  of  your  child. 

ANTON 
Ruth,  listen  to  me  a  moment. 

RUTH 
(Piteously) 

Oh,  Anton,  I  am  so  ashamed !  So  ashamed !  It  was 
for  the  sake  of  me,  for  the  sake  of  my  little  fool's 
paradise,  that  you  have  suffered!  That  you  stood 
silent  while  they  stripped  from  you  the  trust  and  the 
honor  and  called  you  unworthy! 


i92       THE  LIGHT  OF  THE  WORLD 

SIMON 

(Going  toward  her) 
Ruth! 

RUTH 
Don't  speak  to  me.    Don't  touch  me. 

(She  rushes  out.     There  is  a  distant  murmur 
of  the  procession  of  villagers  going  to  the  Play.) 

SIMON 

Ruth!     Ruth!     Don't  leave  me!     Don't  leave  me! 
I  love  you,  Ruth!    I  love  you! 

ANTON 

(His  hand  on  SIMON'S  shoulder) 
Don't,  Simon,  old  friend,  don't.     I  understand  and 
so  will  she  some  day. 

SIMON 
Never — never — I've  lost  her — I've  lost  her. 

NATHAN 
Anton !    Anton ! 

(Enters  hurriedly  in  great  excitement.     Closes 
the  doorf  and  holds  it  shut.) 

ANTON 
Yes,  Nathan? 

NATHAN 

You  know  that  some  people  made  threat  to  burn  the 
house.     They  are  coming,  Anton.    A  great  crowd  of 


THE  LIGHT  OF  THE  WORLD        193 

them  have  turned  up  the  road  and — and  one  carries  a 
great  bundle  of  sticks  under  his  arm. 

(MARNA    quickly    takes   the   baby   from    the 

cradle.) 

ANTON 

Yes,  for  the  scene  of  Isaac's  sacrifice.  They  are  on 
their  way  to  the  play. 

NATHAN 

No,  no.  You  are  wrong !  Do  you  want  to  stay  here 
till  the  rabble  are  upon  us.  (To  MARNA)  Quick,  I 
have  Simon's  cart  waiting! 

MARNA 

He's  right,  Anton.  Where  is  your  mother?  Aunt 
Mary!  Aunt  Mary! 

ANTON 
Don't  be  frightened. 

(The  sound  of  many  voices  rises  from  outside.) 

JAMES 
(Off) 
The  Pastor  has  gone  to  the  Play — Come  on ! 

( The  crowd,  Including  MARTIN,  JAMES,  PAUL 
and  RAYMOND  enter  hurriedly  filling  the  door- 
way  and  one  side  of  the  room.  They  are  all 
excited.  The  MOTHER  enters  in  terror. 
NATHAN  picks  up  a  piece  of  wood  to  protect 
MARNA  who  stands  holding  her  baby.) 


194       THE  LIGHT  OF  THE  WORLD 

ANTON 
Put  that  down,  Nathan! 

(There  is  a  confusion  of  shouts  and  calls  from 
outside.  RUTH  forces  herself  through  the 
crowd.) 

RUTH 

(As  she  silences  them.) 

Simon!  I  have  brought  these  people  here  for  you 
to  tell  them  the  truth! 

OMNES 
What  is  it?    What  does  she  say? 

RUTH 
Listen.    Simon  has  something  to  say  to  you.    Listen! 

ANTON 
Ruth! 

SIMON 

(To  ANTON) 

No  no ;  it  is  right.  I  stood  by  and  let  you  be  shamed 
publicly,  and  now — (He  faces  the  crowd.)  My  wife 
has  asked  you  to  come  here  so  that  I  should  right  a 
terrible  wrong  that  you  have  done  through  me  to  a 
good  and  noble  man.  (The  crowd  are  bewildered.) 
And  there  is  a  girl  and  a  little  child.  She,  too,  does 
not  deserve  your  blame,  not  one  tenth  as  much  as  the 
man  who  seduced  her. 

MARTIN 
That  is  true  enough! 


THE  LIGHT  OF  THE  WORLD       195 

SIMON 
I  am  the  man. 

(There  is  a  moment's  stunned  silence,  then  a 
sudden  babble  of  voices.  RUTH  turns  to 
NATHAN  who  takes  her  in  his  arms.  MARNA 
goes  to  the  cradle;  puts  baby  in  it.) 

MARTIN 

And  you  stood  by  while  we  tried  to  drive  Anton  from 
the  village? 

OMNES 

(Starting  toward  SIMON) 
Shame,  shame! 

ANTON 

Wait,  my  friends !    Justice  is  with  God  and  since  He 
gives  mercy,  we  poor  offenders  may  well  be  merciful. 

OMNES 
The  Pastor!    The  Pastor  is  coming. 

(PASTOR  SAUNDERS  enters  through  the  crowd.) 

MARTIN 

I'm  glad  you're  here,   Pastor.     Simon   Brock  has 
just  make  a  confession  to  us  all. 

PASTOR 
A  confession? 

MARTIN 
He  is  the  father  of  the  little  one  in  that  cradle. 


ig6       THE  LIGHT  OF  THE  WORLD 

PASTOR 
(Slowly) 

This  is  true,  Simon? 


SIMON 
Yes. 

PASTOR 
Anton,  what  can  I  say  to  you? 

ANTON 

(Puts  his  hand  on  SIMON'S  shoulder) 
Say  that  you  are  glad  to  learn  that  a  man  has  found 
himself  a  man. 

PASTOR 

I  wish  that  there  was  some  way  for  us  to  make 
amends  to  you. 

OMNES 
Yes,  yes. 

ANTON 
There  is  one  gift  I  should  like  to  ask. 

OMNES 
Yes;  yes.    Anything. 

ANTON 

Then  won't  you  ask  them,  Pastor,  to  let  Marna 
stay  on  here  in  the  village. 


THE  LIGHT  QF  THE  WORLD       197 

PASTOR 

( Turns  to  the  villagers) 
You  hear  what  Anton  says? 

MARNA 

No ;  thank  you,  Anton,  it  is  better  that  I  go  away. 
You  see,  some  day  my  little  boy  will  grow  up  to  under 
stand  these  things. 

MARTIN 

Marna,  your  child  shall  grow  up  with  our  children, 
and  never  by  word  or  look  will  he  come  to  know  from 
us  of  anything  of  all  this  but  what  you  tell  him. 
(Murmurs  of  assent  from  the  crowd.) 

MARNA 

(Half  audibly,  with  bowed  head) 
Thank  you    .    .   . 

(The  chant  begins  outside.) 

JAMES 

(Looking  off) 
It's  the  procession! 

OMNES 

The  procession! 

PASTOR 

Yes,  my  children.  Go  and  join  them,  you  must  not 
be  late. 

OMNES 

(As  they  start  off) 
Good-bye,  Anton.    God  bless  you. 


i98       THE  LIGHT  OF  THE  WORLD 

ANTON 
God  bless  you. 

PASTOR 

Anton  Rendel.     I  think  you  are  a  better  Christian 
than  any  of  us  here. 

JAMES 
(At  door) 
Pastor,  may  we  speak  to  you  a  moment? 

PASTOR 

(Going  to  them) 
Surely  my  son. 

ANTON 
(  Turns  to  her) 
Ruth 

RUTH 
Yes,  Anton. 

PASTOR 

Anton,  young  Mayre  is  outside;  he  wants  you  to 
take  back  the  role  of  the  Christus. 

ANTON 
No,  no. 

(MOTHER  goes  to  him  with  an  appealing  hand 
on  his  shoulder.) 

PASTOR 

Everyone  wishes  it  so,  and  for  the  sake  of  the  village 
and  our  play,  I  ask  it. 


THE  LIGHT  OF  THE  WORLD       199 

ANTON 
Very  well  then.     I  will. 


PASTOR 
Thank  you,  Anton. 

OMNES 

(Going  off  happily) 
He  agrees.    He  takes  it  back. 

MARTIN 

(As  they  are  going) 
We  will  wait  outside  while  he  robes  himself. 

MOTHER 

Yes,  yes.    I'll  get  the  robe  for  you,  Anton. 
(She  goes  into  kitchen.) 

PASTOR 

(In  doorway  turns  to  them) 
God  bless  this  house,  and  all  who  dwell  therein. 

MARTIN,  JAMES,  PAUL 
Amen — amen ! 

NATHAN 
(Cynically) 
Amen! 

(The  PASTOR  and  the  others  all  go  off  as  the 
MOTHER  enters,  reverently  carrying  the  robe 
which  she  lays  on  ANTON'S  arm.) 


200       THE  LIGHT  OF  THE  WORLD 

MOTHER 

Every  day  I  have  taken  it  out  and  cried  over  it,  and 

now  after  all  I  am  to  see  you  wear  it.    God  is  good! 

(ANTON    kisses    her.      She    lifts   the    robe    off 

ANTON'S  arms  and  goes  up  the  stairs,  carrying 

the  robe  folded  over  her  arms.) 

NATHAN 

(Shaking  ANTON'S  hand) 

Men  that  love  truth  and  kindness  and  mercy  may 
call  their  faith  by  different  names,  Anton;  but  the 
things  that  separate  them  must  look  very  small,  to  the 
God  that  puts  goodness  into  the  hearts  of  both  Jew 
and  Gentile. 

(He  goes  out.) 

ANTON 
Ruth,  can't  you  forgive  him? 

RUTH 

I  can't  forgive  him  for  having  stood  back  and  let 
an  innocent  man  suffer  in  his  stead. 

ANTON 

This  day  we  are  going  to  commemorate  the  suffer 
ings  of  one  who  was  wholly  innocent  and  who  suffered 
for  a  world  of  us  guilty  ones. 

RUTH 
Anton;  please  leave  us  alone. 

(SlMON  rises  from  chair  below  mantel  where  he 
has  been  sitting.) 


THE  LIGHT  OF  THE  WORLD       aoi 

ANTON 
As  you  wish,  dear. 

(He  goes  up  the  stairs  and  off.  MARNA  takes 
up  her  baby  and  goes  toward  the  kitchen  door 
way.) 

RUTH 

Marna.  (MARNA  turns.)  Wait,  I  am  going  down 
to  my  home  in  the  valley.  ( SIMON  raises  his  head.) 
But  I  want  you  to  know  if  you  should  ever  need  a 
woman  friend,  I  will  be  always  ready.  And  sometimes 
you  must  let  your  little  boy  come  and  see  me. 

MARNA 
(Dreamily) 
You  feel  it,  too. 

RUTH 
What  do  you  mean? 

MARNA 

There  is  a  spirit  in  this  house,  something  that  broods 
upon  the  souls  of  each  who  enters  it,  and  raises  them 
up  to  the  heights. 

RUTH 
Why,  yes,  I  wonder. 

MARNA 

Do  you  believe  that  the  spirit  of  Christ  left  the 
earth  when  He  left  it?  Or  may  it  perhaps  come 
back  to  show  us  the  way  again? 


202       THE  LIGHT  OF  THE  WORLD 

RUTH 

To  show  us  again  the  gospel  of  kindness  and  for 
giveness  ? 

MARNA 

And  understanding    .    .    .    that  was  His  greatest 
secret,  Ruth;  understanding. 

(She  goes  out,  after  a  second's  pause,  to  the 
kitchen.    RUTH  turns  to  SIMON.) 

RUTH 

Simon,  I  want  that  understanding  to  come  to  me; 
perhaps  it  will  some  day. 

SIMON 
Some  day?    You  are  going  back  to  your  home? 

RUTH 
Yes.    It  will  be  easier  that  way  for  a  little  while. 

SIMON 
(Dully) 
Will  it? 

RUTH 

And  there's  work  for  you  to  do  there,  down  in  the 
valley.    And  later,  we  will  come  back  to  the  heights. 

SIMON 

(Wonderingly) 
You  want  me  to  go  with  you  ? 


THE  LIGHT  OF  THE  WORLD       203 

RUTH 

You  are  my  husband,  Simon.  And  down  there  we 
will  try  to  find  that  understanding  together. 

SIMON 

(Seizin g  her  hand  and  kissing  it  humbly) 
Ruth! 

(BROOKE,  the  poet  appears  in  the  doorway.) 

BROOKE 

May  I  come  in  ?  I  was  on  my  way  down  to  the  play 
and  I  thought  I'd  stop  for  a  moment  to  see  what 
Anton  has  been  making. 

RUTH 
Oh,  the  carvings. 

BROOKE 

Yes.  Aren't  you  the  little  bride  who  was  here  that 
day  I  came  with  my  two  friends? 


RUTH 
Yes. 

BROOKE 

I   wished  you  happiness  then.      (Shaking   hands.) 
May  I  wish  it  again? 

RUTH 
Thank  you. 


204       THE  LIGHT  OF  THE  WORLD 

BROOKE 

(Turns  to  the  carving  on  the  table) 
A  mother  and  child.    (  To  RUTH  )  Is  it  a  Madonna  ? 

RUTH 
Does  Madonna  mean  mother? 

BROOKE 
(Examining  it) 

Mother-love,  that's  what  it  should  be  called.    The 
only  absolutely  unselfish  love  in  the  world. 

(ANTON  slowly  comes  down  the  steps,  clothed 
in  the  white  vestments  of  Christ.  They  stand 
watching  him,  awed  and  silent.  He  comes  to 
RUTH  and  puts  his  hand  on  her  arm,  looking  at 
her  in  question.) 

ANTON 
Well,  Ruth? 

RUTH 
It  is  just  as  you  would  wish  with  us,  I  think. 

(Then  ANTON  slowly  goes  to  SIMON  placing 
his  hand  on  his  shoulders.) 

ANTON 
I  am  glad. 

(He  turns  and  seeing  BROOKE  smiles  in  recogni 
tion.  Outside  there  is  a  distant  boom  of  the 
cannons.  He  slowly  crosses  to  the  door  as  they 
gaze  at  him.  The  trumpets  are  heard.  ANTON 


THE  LIGHT  OF  THE  WORLD       205 

opens  the  door  as  the  choir  sings.  The  warm 
sunlight  floods  over  his  head.  He  walks  slowly 
out.  The  others  continue  to  gaze  after  him.) 

BROOKE 

There  is  something  that  grips  you  even  against  your 
will;  something  that  lives,  that  goes  on  living. 

(The  choir  is  heard  as  ANTON  joins  them.) 


Curtain. 


